Review of:High Definition Classics: The Complete Classical Music Library

Topics Entertainment

Renton, WA

Note: All prices I refer to in this review are in U.S. Dollars (USD).

Introduction

I stated in my last review that I buy very little music these days…or at least, I buy very little that is coming  from the major labels.  I am also somewhat sceptical about some of the other recordings that you see out there in the market.. But, I’ve managed to find a few recordings that are very inexpensive, and have some value.  Today I am reviewing a series of collections that are a mixed blessing: High Definition Classics: Complete Classical Music Library.

Overview

The HDC Complete Classical Music Library consists of a series of box sets:

• The Masters
• The Romantic
• The Baroque
• The Symphonies
• The Opera and Ballet
• The Piano

These are available as either a single Big Box, or as two separate (Small Box) single volume boxes.  (IE, there is a “The Baroque Volume I” and a “The Baroque Volume II” packaged in a smaller box — or a single larger box containing both Volume I & II:

From here on, I’ll refer to these as the Big Box and Small Box versions.)  Each Big Box contains sixteen CD’s, averaging around 50 minutes long (the Small Boxes contain 8 CD’s each, and are literally the same as the Big Box).  This makes each Big Box approximately 14-16 hours long.

The Masters set claims on the front “Over 15 Hours of Pure Digital Music”.  And, in fact, the total time for the set is 15:02:09 according to my computer, just barely making that claim true.  The Piano Big Box fares better at 15:39:43.

A Note About Pricing

A quick word about the pricing of these boxes.  I found them initially at Half Price Books.  The Big Boxes were only $10 each.  At the time I only saw The Piano Big Box, so I bought it, mostly for giggles…I thought I knew what I was actually buying as I’ll explain later.

When I decided to get the other Big Boxes I went back to my local Half Price Books store, but found that they only had The Masters in the Big Box version, but they also had a shelf of the Small Box versions.  That’s when I noticed: the Small Boxes are $8.00 each.  Buying two Small Boxes is the equivalent of a Big Box, but you’ll spend $16. There is a reason for the pricing difference, but (IMO) it isn’t completely justified as I explain later.

Looking on-line yielded a wildly bizarre range of prices.  Anywhere from $13 for a Big Box, all the way up to $32 for a big box, and even as high as $25 for a Small Box. Just beware that if you want to get the best price for these CD’s, try to find the Big Box version to get the best value.  Personally, I’d try to stay close to $16 per Big Box or $8 for a Small Box.  My feeling is that retailers marking these up higher are just trying to gouge their customers.  (But that is only my opinion.)

So, when I left Half Price Books, I had picked up The Masters Big Box, and The Baroque Volume I Small Box.  After doing my research at home, I ordered rest of the sets.

So What Is In The Box?

Despite the size of the boxes (5.75″x5.25″x2.5″ for the Small Box, and 8″x6″x4.25″ for the Big Box) there is surprisingly little in the boxes themselves.  In the Small Box there is:

• The CD’s in shrink wrap with protective dummy disks at the top and bottom to keep the others from getting scratched
• A little CD-sized fold-out pamphlet with the track listing
• A CD storage wallet designed to hold 16 CD’s

And that’s it.  Oddly, the Big Box version is slightly different:

• An inner cardboard cradle to hold the CD’s
• All 16 CD’s in individual Tyvek sleeves
• A little CD-sized fold-out pamphlet with the track listings
• A CD storage wallet designed to hold 16 CD’s

The CD wallet itself is nothing all that special, although it is admittedly a convenient addition to the package.  It looks something like this:

The case is nice to have for storing the CD’s.  The fold-out pamphlet fits neatly in the case with the CD’s, although it would have been nice to have a pocket specifically to put it in.  As it is, you just set the pamphlet in-between the sleeves.  Here’s all 16 CD’s in their sleeves, with the folded out pamphlet:

And here’s a picture of the foloded up pamphlet on top of one of the CD sleeves:

Overall, the packaging could be seen as an allegory for the whole product: the bigger and better it looks, the lower the price, the more desirable it is.  But what you get is a lot of cardboard and wasted space (the big slot held the 16 CDs):

Another part of the marketing is found in the hyperbole used in describing the product on the package itself, for example:

• “…High Definition Classics were designed with 20 bit-technology and mastered with the Sound Enhancement System in cooperation with Sound Performance Laboratories.”
• “Revolutionary sounds results from the latest in classic recording…”
• “Comprising more than 400 hours of exclusive classical material…”
• “…sound quality comparable to the brand new Super-Audio-CD.”

Basically the only thing missing between the techno-babble and unrealistic claims are the exclamation marks. However, this style of marketing still appeals to a certain portion of the public (I would dare say an older generation).  But, I would have preferred to see something closer to the packaging used for releases from Proper Records, where the packaging is compact and neat, decent reference materials are included (typically a 30-50 page booklet with an essay about the recordings and complete discography information).

The small case for storing your CD’s in is convenient, and makes the collection easily portable, but it doesn’t make up for all the wasted cardboard in the boxes.  If the packaging had been neater, the CD wallet would have been unnecessary.  And, there is a disadvantage to the CD wallet: there are no identifying marks to tell you what is in the wallet.

On the positive side: with the Big Box version you have 16 left over tyvek sleeves after putting the CD’s in the case which you can recycle.  In the Small Box version there are the two pieces of dummy CD that maybe there is a way to recycle.  And, there is a way to fix the problem of the case: portions of the box bearing the logo and title of the collection could be cut out and glued to the CD wallet to make them more identifiable. The ability to recycle parts of the packaging does help offset the waste of all the cardboard just a little (a teeny tiny bit).  Another helpful portion to this packaging, they do state clearly on the box (a) the paper that has been used is recycled (of course with the disclaimer: wherever possible), (b) five percent of the sales of these boxes is donated to conservation and education groups.  Again, not great, but at least it’s another teeny tiny step in the right direction.

Finally: my theory about the pricing difference between the Big and Small Box versions. The CD storage wallet is a constant, fixed price.  Most likely, you are paying $3.50 for the wallet, and about $0.60 per CD.  That works out to about $8.30 for the box.  In the case of the Big Box, it would be about $13.10.  While not exactly what I paid (after all, these were in a store that specialises remaindered and low-cost items) but close enough to explain the pricing difference.

The Recordings

For the purpose of this review I do not have all of the recordings in this series, yet.  As I stated above I have everything on order, except for The Opera and Ballet Big Box which I was unable to find until today, and now have on order.  What I am using as the basis for this review is:

• The Masters (Big Box)
• The Piano (Big Box)
• The Baroque Volume I (Small Box)

This review may be updated in the future to add information about the remaining boxes as I get them in and spend some time with them.  However, having acquired and listened to 40 CDs from the collection I believe I have enough perspective to make a reasonable commentary.  The only set that I suspect may bear additional commentary is The Opera & Ballet, as this will contain more vocal works than the rest of the series (the only vocal works I’ve listened to thus far are the Arias from The Messiah by Handel which I will mention later.)

The Battle Axe Will Fall?

Despite the “20 bit-technology” hyperbole on the package I was extremely sceptical.  The only reason I purchased the set was that I suspected it was yet another re-packaging of the infamous “Battle Axe” recordings that have been around for years.  The “Battle Axe” recordings were (or are?) a series of recordings made anonymously in the 1990′s.  You get what you pay for with them: a no-name orchestra or ensemble, and unknown conductor, and recording quality that is thin and flat sounding.  The most common name these recordings were issued under was “Vienna Masters Series” (hereafter referred to as VMS), and I’ve seen them re-packaged at least five or six times.

Much to my surprise, these aren’t the “Battle Axe” recordings, or a repackaging of the VMS.  Comparison of the Handel Water Music Suite No. 2 confirmed the differences were not only in the recordings, but in the performances.  The recording included on The Baroque Volume I is much clearer, much more detailed, recorded in what appears to be a larger hall than the VMS as evidenced by a more ambient and sound.  But, beyond the recording/engineering there is more difference than similarity between the two recordings.

The VMS recording is taken at a slower tempo. The ensemble is nearly sloppy at points.  The phrasing of several passages is indistinct.  The actual instruments have a thinner sound to them, especially in the strings.  The horns almost sound as if there were mutes over the bells.  And the overall performance lacks drive and direction.

The recording in the recording in The Baroque Volume I has a very bright sound.  The Parts are completely distinguished.  Depth of field is quite pleasing and enjoyable.  The strings have a real body and weight to them without becoming over bearing.  The reed instruments stand out wonderfully without being outside of the ensemble.  The overall performance is engaging and moving.  The ensemble on this recording appears to be larger than the one used for the VMS recording. You actually feel the drive of the ensemble, the phrasing carries you forward through the performance.

I have to say here and now, my scepticism wasn’t solved by just listening to the recording from The Baroque Small Box.  I literally had to spend some time doing an A/B comparison between the two before I reached the conclusions stated above.  The reason for this is that the state of technology is good enough that it was possible that what I was hearing was a manipulation of the old VMS recordings.  However, having spent some time with the two, I am reasonably certain they are not the same recording.

The Good

Possibly the single best thing that I can say about these CD’s is this: they are easily a vast improvement over the old Vienna Masters Series.  As I outlined above, the performance of The Water Music so far out shines the VMS version that it’s almost painful to try to make the comparison.  Believe me, I was in pain switching between the two just to make the notes needed for the comparison.  I didn’t want to stop listening to the recording in this collection, whereas the VMS made me cringe and want to stop every five seconds.

Another interesting thing in these recordings: occasionally lesser known composers, or unique pieces were chosen for inclusion.  For example, there is a piece credited to “Badi” in The Baroque Volume I.  I don’t know who Badi is, but I think this is an arrangement of a piece by a lesser known Brazilian composer named Badi Assad. (I could be completely wrong: Google could be failing me on this. However, it would make sense given the disc in question is subtitled “Versatility of Baroque Pieces”)  Another example: in The Masters Big Box a piece by Boccherini is included, and finally: F. Poulenc is included in The Piano.

This is nice to see.  Too many collections, especially in the bargain price range, have stuck to core classical pieces.  Including a few works that are somewhat known, but not common in these collections does lend a bit of extra credibility to this series.

The main line of these recordings does stick to many of the better known composers: Bach, Beethoven, Mozart, Telemann, Handel, Chopin, Debussy, Brahms, Ravel, Liszt, Shumann, Schumann, Rachmaninoff, Tchaikovsky, Grieg, and so on.  Even when the composers are better known, some of the pieces included may not be as well known.  For example, several selections from Grieg’s Holbergs Time, Op. 40  and Two Norwegian Melodies for String Orchestra are included.

The only vocal material on the current Volumes at my disposal are a selections of arias from Handel’s Messiah.  These are good recordings, not over ornamented by vocal gymnastics as some singers are likely to do with this material.  The pieces are handled in a reasonably straightforward manner, but still maintain an element of style that is befitting them.  None of the singers on these recordings are going to compare with Luciano Pavarotti or Beverly Sills, but that isn’t the point here.  These recordings can be enjoyed without the interpretations becoming a distraction or a means-to-an-end in and of itself.

The Bad

The biggest bad thing about these collections goes back to the packaging again: the lack of anything beyond a track listing on a little booklet and on the box is disappointing.  I would have gladly paid a few dollars more for these recordings if I knew there was some additional documentation included.  (I reference, again, the Proper Music box sets which have nice booklets with them and typically sell at a price point of $15 for a 4 CD set.)

Another thing that having so little documentation doesn’t help with is identifying the ensembles, orchestras, conductors or performers.  None of this information is included anywhere in the packaging.  In a respect there is possibly an series of odd ways to look at this…  First, if the recordings are good (which they generally are) then it shouldn’t matter who the performers are, right?  Well, yeah, but being able to recognise a performers accomplishments are important.  Second, by not crediting the performers it’s likely these recordings were made by paying the performers scale wages, and avoids having to pay them royalties.  This keeps the pricing of the recordings extremely low. However, I don’t like the feeling that I am depriving the performers earning their due monetarily.  Third, by not printing the performers, people aren’t likely to write off the series just based on a lack of name recognition.  That’s true, but they didn’t need to be on the outside of the box, they could have been listed on the pamphlets included with the CDs.

I have another twist on this point: Amazon actually managed to list some of the performers for the MP3 issue of some of the tracks.  They were definitely unknown performers.  However, I did find knowing their names interesting, just as I found it interesting when Naxos credited their performers.  I definitely began name-recognising some of their artists, such as Jeno Jando, Idil Biret and Capella Istropolitana.  (Yes, I did pull those names off the top of my head, only had to use Google to spell check.)

And yet, there’s still more that is bad: even the included track listings aren’t always correct, and in some cases are downright confusing.  For example, in one case, it appears there is an arrangement of Pachebel’s Cannon in D for String Orchestra.   However, Pachelbel is not credited in the liner notes.  And, when I plugged the CD into my computer, it thought the piece was by Vivaldi, and included as part of an Oboe Concerto.

While this was likely an error based on information submitted to MusicBrainz or CDDB, the listing in both the supplied pamphlet and on the box does not make the situation clear.  And, in other cases there are typographic errors, such as the mis-spelling “Hayden” when “Haydn” is correct, and in another case “Baethoven” instead of “Beethoven”.

There is duplication in the series, even within the same box.  For example, in The Baroque Volume I, the  disc “Jewels of Baroque Polyphony” contains Goldberg Variations 9, 13, 15, 21 & 25.  The “Bach: Preludes and Fugues” disc contains all of the Variations on the first disc, and adds 3, 7, 10, 11, 12, 14, 18, 24, 20 & 30.  Both discs also contain the Goldberg Variations Arias.  Why the duplication?  Why not use some of the space to add more Vivaldi or Telemann, both of which are under represented.  (Although, it is possible they are better represented in The Baroque Volume II. )  Another example: the disc “Masters of Baroque Music” contains Brandenburg Concerto No. 3 (but only two movements of it), while the disc “Brandenburg Concerti Nos. 1, 3, 6″ contains (you guessed it) Concerto No. 3.  No. 3 could have been dropped from the “Masters of Baroque Music” disc to make space for something else.

There are also times when the presentation seems quite overloaded towards a composer, or a couple of composers.  For example, The Baroque Volume I makes it appear that Bach is the only composer worth paying attention to.  Yes, there are a few Handel, Telemann and Vivaldi pieces included, but they are completely overwhelmed by the selection of Bach.  Yes, Bach is the single most important composer from this period. However, in my opinion, the listener should have a better feeling for the period as a whole. The Masters box is severely overloaded with Beethoven and Mozart.  Yes, other composers are given some representation, but nowhere near the amount that Mozart and Beethoven are given.  But come on, why not a bit more “Papa” Haydn?  After all, Haydn was a central figure in the development of both Mozart and Beethoven.  The Piano Big Box fares the best in this area, with a wider range of composers represented.

There is also some oddities in some of the tracking arrangement on the boxes that really just shouldn’t have been done.  For example, one disc in The Masters Big Box interweaves movements from three Mozart Symphonies: 39, 40 and 41.  There is just no logical reason for doing this.  They were all on one disc, they could have been placed in any order.  So why such an arbitrary arrangement?  Why not just group the movements from Symphony 39 together, then the movements from Symphony 40, and finally Symphony 41?  Randomly cutting between symphonies is confusing, and doesn’t help the listener explore the continuity between the movements.

Another issue did rear it’s head in The Baroque Volume I: there is a fair amount of variation in the recording level of the pieces, and differences in the way the ensembles were recorded.  While it’s not a major issue overall, it was sometimes disconcerting having the volume levels change without any warning.  There is also some variation in The Piano Big Box, but it was nowhere near as noticeable as it was in The Baroque Volume I.

My final criticism I alluded to earlier: incomplete pieces.  Such as in the Goldberg Variations, and Brandenburg Concertos.  In some cases this is understandable: the complete Goldberg Variations typically take a whole CD by themselves.  But why leave out one movement from Brandenburg Concerto No. 3?  That makes no sense, especially when dedicating two whole discs to them (which is typical), and neither of the discs that include No. 3 is over 55 minutes long.  I mentioned a disc in The Masters Big Box earlier that interweaves movements from several Mozart Symphonies: none of them were complete.  Fitting all three on a single CD wasn’t likely to happen, but one or two of the Symphonies could have been complete.

The Verdict

If you’ve actually made it this far along in the review you might be overwhelmed by all of the negative things I’ve had to say.  Well, that’s the way I roll baby: I am critical and I am detailed in my criticism.  The are several points to consider about my criticism:

• If I am not critical I cannot expect the producers of this product will improve in the future.
• If I am not critical  you will not have an accurate set of expectations.
• If I am not detailed in my criticism I cannot expect you to be educated, and possibly share this education with others.

To summarise, these are the major negative points to this collection:

• Packaging is the single biggest problem: no liner notes, inaccurate track information, bad hyperbole on the packages, excessive material used in the packages, etc.
• Some inconsistencies in the recordings: varying recording levels, incomplete pieces, weird track ordering, duplication of material.

Believe it or not, however, I would recommend buying this product for the right person.  Why?  It comes down to the following items:

• This is a grand, sweeping set of CD’s.  You’ll be hard pressed to find another series of discs that can bring you this much classical music.
• The recordings are generally very good.  This is true both in terms of the technical quality, and the overall performances.
• 96 CDs of classical music is an incredible library of music, even if I wouldn’t call it “complete”.
• The price trumps just about anything else I have seen.  At $10-$15 for a set of 16 CDs, you’ll find it nearly impossible to match this collection.

When I look at the overall collection, having four major positive statements beats the two major negatives.

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