Jason Victor Serinus

A huge fuss was made over Aurender's first music server, the S10, when it premiered in 2011 at the California Audio Show. While I didn't feel that the room acoustics and setup were good enough at CAS to permit an honest appraisal, the looks and features of the S10 (now discontinued) thrust Aurender into the spotlight. So when John Atkinson, who had very favorably reviewed Aurender's N10 server in April 2016, asked if I would evaluate Aurender's new A10, the opportunity to serve so many audiophiles with a single review elicited from me an unequivocal "Yes!"

For those unfamiliar with the symphonies of Danish composer Carl Nielsen (1865–1931)—that includes me—the startling opening of his Third Symphony, "Sinfonia espansiva," will undoubtedly come as a shock. Its relentless pounding chords, played at an accelerating pace by the entire orchestra on the same pitch, may owe more than a little to Beethoven's Third Symphony, "Eroica," but their language is far more modern, and reflective of an era profoundly unsettled. Heard in high-resolution stereo (24/96 WAV) in the new live recording of Nielsen's Symphonies No. 3 and 4 from the Seattle Symphony, conducted by their Music Director Designate, Thomas Dausgaard, the symphony's opening volley seems calculated to catch us off guard, and convince us to listen with care to whatever may follow.

Few violinists would consider saddling a recording with a title as grand and potentially pretentious as Grandissima Gravita. But not only is Rachel Podger's latest Channel Classics hybrid SACD with her ensemble, Brecon Baroque, grandly played—Podger is brilliant as always—but its title also serves as an apt descriptor of the emotional tenor of most of the works on the program.

John Atkinson asked me to review the dCS Network Bridge ($4250), which was designed to be paired not just with the dCS Vivaldi DAC ($35,999) running the current v.2.02 software, but with any DAC. This meant I was forced to endure several months with the state-of-the-art Vivaldi as a replacement for my reference dCS Rossini ($23,999). Oh, how I suffered.

Overflowing with heart, Brahms' three Trios for violin, cello, and piano are amongst the most venerated chamber works in the literature. Completed over a span of 35 years, they reveal Brahms forever true to his love and longing. Again and again it surfaces, expressed through an irrepressible love for melody, Hungarian and gypsy sentiments, romance and drama that sings and sighs at its most vulnerable in this special, two-disc Sony recording of the Brahms Piano Trios from cellist Yo-Yo Ma, pianist Emanuel Ax, and violinist Leonidas Kavakos.

"Exquisite" is not a word to be invoked lightly. In the history of vocal music on record, there has been only one singer to earn that appellation—soprano Maggie Teyte, Debussy's second Melisande, whom the great Polish tenor Jean de Reszke dubbed "L'Exquise." To that exalted category must now be added countertenor Philippe Jaroussky, whose latest recording for Warner, The Handel Album, contains some of the most exquisite singing I have ever been privileged to hear.

Just one week after Capital Audio Fest, the three-day New York Audio Show opens on Friday, November 10, in Manhattan's Park Lane Hotel. With two live references close by—the great outdoors of Central Park is just one block away, and Carnegie Hall is just one block farther in the other direction—the three-day show promises 25 or 26 active listening rooms and up to 100 brands.