Hi, my name is Pierre and I’m a compulsive record collector… That’s probably how I’d introduce myself if I belonged to a support group for hard-core record collectors. But fear not, my condition isn’t painful—it brings me immense joy, and I’m eager to share my passion for classical music in the pages of PMA Magazine.

A music-loving audiophile, I believe quality audio equipment has the ability to enhance the music’s artistic meaning or, at least, draw our attention to a particular aspect of the music. I’m also very curious. I like all musical genres or almost: classical music, of course, but also jazz, progressive rock (I’m a huge Rush fan!), folk, electronic, etc.

How did I fall in love with classical music? I owe it in large part to the thieves who stole my collection of about a hundred records (mostly heavy rock) while I was a student. After that, I wanted to turn the page and move on to something else. I ended up in a record store in Old Quebec, in the section of… jazz. However, seeing as the clerk behind the counter seemed to busy to help me, I pursued my music quest in the classical section, where I told the first clerk I met, “I want to get into classical music.” He steered me towards Baroque music played on period instruments, and I was hooked. Then I read about classical music, a lot: the booklets inside the records that I bought sparingly, the specialized magazines, the record guides and, especially, the labels’ catalogs to learn about the repertoire. Experts told me I had a good ear for music, and a few years later, at the last minute I filled in for a friend to host a classical music show on a community radio station in Quebec City. That adventure lasted 12 years, during which I got to shared my passion on the airwaves and interviewed many stars, both local and international. I was also classical music critic at the daily newspaper, Le Soleil, and at Quebec-based hi-fi magazine, Son & Image.

Ten Albums to Get You Started on Your Classical Music Journey (Part 1 of 2)

To kick off my new collaboration with PMA, I thought about those who might feel intimidated by classical music or unsure of which recordings to begin with. Here, then, is a first batch of five albums to guide you. I’ve chosen one from each major era to give you some reference points.

Renaissance: ±1400 to ±1600

Carlos V
Jordi Savall
Alia Vox AVSA9814

I can’t think of a better album to introduce you to Renaissance music. This album is also on my shortlist of records to take to the proverbial desert island, where, it’s hoped, there’s a quality audio system. Jordi Savall, a leading expert of this era, carefully curated a generous selection of vocal, choral, and instrumental pieces. These works illustrate various milestones in the life of Charles V (1500-1558), Emperor of the Holy Roman Empire from 1519 to 1558, a music lover and patron of numerous musicians. The result is a fascinating programme that blends drinking songs (“Quand je bois du vin clairet”, Anonymous), battle music (“La bataille,” Janequin), and, especially, the poignant and melancholic “Mille regretz” by Josquin des Prez, which inspired Cristóbal de Morales to compose his famous mass of the same name. Like all of Savall’s albums released on his own label, Alia Vox, the quality of the release and liner notes go hand in hand with the artistic quality of the performance. This recording, by Nicolas Bartholomée, a faithful collaborator of Savall’s, is simply miraculous and contributes to the total success of this unforgettable album. Also available in SACD.

Baroque Era: ±1600 to ±1750

Bach: Brandenburg Concertos 1-3; Orchestral Suite No. 1
Reinhard Goebel
Archiv Produktion 447287-2

The first volume of Bach’s Brandenburg Concertos by Reinhard Goebel (there are six concertos in total) was that famous first record recommended to me by the record store employee to help me “get into classical music.” The shock—it was Baroque. But I never held that against the clerk because this album became one of my all-time favourites, regardless of genre. This 1985 recording has aged very well, in terms of performance and sound quality. Goebel and his Musica Antiqua Köln ensemble offer a fresh take on Bach’s music by seeking out contrasts and exploiting the inherent dynamics of the compositions. The rich flavors of the instruments are maximized without ever overshadowing the delicacy of the music in more intimate passages. Virtuosity is also highlighted (the natural trumpet in the finale of the second concerto or the entire chamber orchestra in the finale of the third concerto). I would also draw your attention to the first Orchestral Suite that concludes the programme (recorded in 1987). This sequence of dances, composed in homage to the French style, is performed with the requisite solemnity by Goebel. It perfectly illustrates the immense influence of French music on Bach and his contemporaries. These recordings are also part of an 8-disc set from the same label, which includes orchestral and chamber music recorded by Goebel (471656-2). I encourage you to read the booklet, which is very clear and informative.

Classical Era: ±1770 to ±1800

Mozart: Concerto No. 10 for Two Pianos
Concerto for Flute and Harp
3rd Horn Concerto Jos van Immerseel Alpha 339

The Classical style in music could be defined as the pursuit of balance, clarity, and elegance. The focus is on mastering the form, creating a clear harmonic language and a palette of tonal clarity, as well as exerting a certain expressive restraint, which doesn’t there aren’t surprises or winks along the way. This record will allow you to savour these precepts in the most delightful way. It’s one of my favorite records of Mozart, performed by a pianist and conductor of immense talent: Jos van Immerseel. Immerseel owns a magnificent collection of pianos from all eras and pays particular attention to the beauty of the timbres of the instruments. Here, he presents us with three magnificent concertos dedicated to very different instruments: Concerto No. 10 for Two Pianos (KV365), the popular Concerto for Flute and Harp (KV299), and Horn Concerto No. 3 (KV447). The soloists are all members of the Anima Eterna ensemble and great specialists of the repertoire. The recording’s sound is exceptional—very natural and airy. Special mention goes to the richly captured timbres, which highlight the beauty of the chosen instruments, starting with the superb Walter fortepianos (models used by Mozart and Beethoven) and, especially, the harp in KV299. A pure delight.

Romantic Era: 1800 to 1900

Beethoven: Symphonies 4 & 5
Nikaulas Harnoncourt
Sony Classical 8875136452

The Romantic era is defined by its opposition to Classicism for its predominance of feeling over reason and its search for new forms that transcend established canons. Remember that Beethoven, who arrived in Vienna in 1792, initially composed in the Classical style, like his role models Haydn and Mozart, and that his music began to take on Romantic hues at the turn of the 19th century. Among the dozens of existing versions of Symphony No. 5 (Qobuz via Roon counts 234!), I didn’t hesitate for a second to choose the 2nd official version by the great conductor Nikolaus Harnoncourt, coupled here with Symphony No. 4. The accompanying liner notes are fascinating. They reveal, among other things, the link between Symphony No. 5 and the French Revolution. In the 1990s, Harnoncourt recorded a reference set of all nine symphonies, shaking things up a bit in the process. This 2nd version of the 4th and 5th Symphonies goes even further in challenging traditional ideas. The underrated “4th Symphony” is now the most beautiful and balanced of Beethoven’s symphonies. Regarding the 5th, Harnoncourt rejects the theme of fate at the beginning of the symphony: “one does not knock on the door to enter, but to leave,” he says. Played this way, the 5th becomes more of a political manifesto, a post-revolutionary liberation march leading to the other side, towards freedom. The recording sounds magnificent, emphasizing the dynamic contrasts in the music (the difference between the softest and loudest sounds).

“Modernity”: 1900 to Present

Stravinsky: The Firebird, Petrushka (1911 version), The Rite of Spring
Pierre Boulez
Deutsche Grammophon 435769

Bang! The Rite of Spring, Stravinsky’s ballet written in 1913 in Paris, caused one of the biggest earthquakes in music history. There’s a before and after The Rite, an absolute masterpiece that gave composers a burst of freedom. This record by Pierre Boulez in Cleveland, which begins with the ballet Petrushka, is one of the two or three records I systematically use to test stereo equipment, especially amplifiers. The recording’s sound has it all: a crystalline and perfectly arranged soundstage (we can see the music, almost touch it), hyper-realistic timbres bursting with colors, and, above all, a thunderous dynamic that will blow you away (the bass drum in The Rite!). Boulez, in these two essential works, leans more toward the analytical and descriptive side. Other conductors, like Riccardo Chailly, managed to give more room to the dance, but only Boulez has achieved such virtuosity in execution, imbuing the orchestra with an implacable sense of rhythm and ensemble perfection. A delight for any self-respecting audiophile.

Skip to Part 2.