"Music
for Staying Put"
March
28, 2020
Marc,
This is an excellent list. Such diversity.
You
inspired me to compile my list.
Bach:
In times of calamity, Bach’s music gives us consolation, stability. The Art of
Fugue is his last unfinished piece, and pianist Zhu Xiao-Mei’s recording on the
Accentus label has been my companion. In the cover notes, Zhu said, “Life engenders
life: there is no end. I believe that is the underlying significance of the unfinished
character of The Art of Fugue.”
Beethoven:
Roy Gregory’s list covers some essential Beethoven pieces for all music lovers.
I’d like to add Leonard Shure’s recording of the “Emperor” Piano
Concerto with the New England Conservatory Orchestra conducted by Leon Fleisher recorded
live by none other than our good friend Peter McGrath on the AudioFon label. Available on
LP only. Amazing performance bursting with life and exuberance.
Mahler:
Das Lied von der Erde, Otto Klemperer, New Philharmonia Orchestra, soloists
Christa Ludwig and Fritz Wunderlich on EMI. Life and death are recurring themes in
Mahler’s music and Christa Ludwig’s performance of "Der Abschied"
(Farewell) is without peer. Plus, this is the one of the most demanding tracks to test
your system, in my opinion.
Sibelius:
Simon Rattle with the Berliner Philharmoniker, the Complete Sibelius Symphonies
1–7 in deluxe boxed set with 180-gram vinyl. Fresh and inspiring performances
from the Philharmoniker. While I’m home, I look forward to spending time with this
album and read the beautifully bound program notes.
Rhiannon
Giddens with Francesco Turrisi, There is No Other, on the Nonesuch label.
Available on heavy vinyl as well as CD and download. The last live music event I went to
before all the cancellations was the Rhiannon Giddens concert at SF Jazz in February, and
what a glorious, unforgettable evening it was, seeing her so close up, three rows from the
stage. Accompanied by Turrisi, who plays the piano, tambourine (many different sizes,) and
accordion, Rhiannon sings and plays the banjo. Her voice was sweet like honey at times,
and fierce and ferocious in others. The power of live performance really come forth in
that concert, and as we suddenly have to retreat back to our homes, these memories become
even more precious as we sit down to listen to our recordings.
Bea
Lam
VTL
Kuzma
Stabi M or XL-DC?
March
15, 2020
Roy,
I
have been informed that you owned a Kuzma Stabi M turntable.
I
have been following your reviews for a very long time; in fact, we have met a few times
over the years at some of the hi-fi dealers and at the London hi-fi show. I have always
respected your honesty together with your vast experience and knowledge in the hi-fi
industry.
I
have been involved in hi-fi for around forty years, give or take; I was into vinyl back
then but then went down the CD route, then on to SACD. Sorry! I probably wasted nearly
twenty years on all that digital stuff, but I did have some fun on the way. I did manage
to keep a couple of players that I thought were pretty good back in the day -- a Marantz
CD-7 and a Marantz SA-7.
So,
after growing old and gathering my senses, I decided to go back to where it all started,
vinyl, when I listen now. I do wonder why I left it all behind in the first place. Anyway,
hindsight is a wonderful thing; over the years I have had a few turntables: Pink Triangle
Little Pink Thing, Linn Sondek LP12, Voyd 3 motor, Funk Firm LSD, Funk Firm Saffire V, VPI
Classic 1, Jon Palmer 2.5.
I
still have the Palmer 2.5 and it is fitted with a Kuzma 4Point tonearm. Yes, that is a
very unusual combination, and it took a bit of engineering to get it to work out nicely. I
am glad I did, though. That tonearm, as you know, is just a great piece of engineering and
just does its job. Which brings me to my first question. The Kuzma Stabi M -- I have
always admired the Kuzma Stabi XL 2, XL 4 and XL-DC, but there is still a big part of me
that thinks a turntable should look like a turntable. So, I keep on coming back to the
Stabi M, I also quite like the fact that it has a dust cover. Some say that this deck is
quite possibly Franc Kuzma's best turntable yet. I would be very interested indeed to know
what your thoughts on it are. Also how do you compare it to the XL-DC?
This
will probably be my very last hi-fi purchase, as I am approaching 64 years of age, and I
just wanted something that's user-friendly and simple to use, so my wife can also carry on
enjoying this hobby when I'm no longer around.
Lynford
Andrews
I
find myself sharing your feelings on the Stabi XL: I like its sound, especially its
dynamic range and the sense of momentum it brings to the performance, but I’ve always
struggled with the looks. I love the dimensionality and stability it brings to the
soundstage, but all that weight can be occasionally overwhelming. In comparison, the Stabi
M definitely does look the way a record player should. The sophisticated, multi-layer
isolation built into the enclosed plinth, along with the beautifully executed DC drive,
make for a more even spectral balance and more neutral tonal range than the XL, combining
to offer a fluid, lucid and unforced presentation, long on musical clarity and expression,
short on mechanical intrusion. Even with the DC drive, the XL sounds heavier and less
agile, without the fluid grace of the M. This is a ’table that you don’t notice
working, that doesn’t intrude on the music or the musicians. I love the fact that you
can remote-start the deck (so you never miss the opening bars) and that it has the
best-engineered lid I’ve ever used. The package definitely ticks all the right boxes.
Add to that the fact that the 4Point is the perfect partner for the M and I think you have
your answer. -Roy Gregory
Subscribe
March
1, 2020
Marc,
I'd
like to subscribe. Thanks.
Andy
Vanderford
You're
a subscriber. To join TAB's e-mail list and find out about new articles first, send
e-mail to rl@theaudiobeat.com. -Marc
Mickelson
