Jason Victor Serinus

Shostakovich: Symphonies Nos.2, 3, 12 & 13
Boston Symphony Orchestra, Andris Nelsons, cond.
Deutsche Grammophon 4864965 (3 CDs) (reviewed as 24/96). 2023. Shawn Murphy, Nick Squire, prods.; Murphy and Squire, engs.
Performance *****
Sonics *****

Auditioned with the bloody conflicts in Ukraine and the Middle East as a backdrop, these riveting, superbly recorded performances confront listeners with the inescapable ravages of war. They also open a window on the shifting political convictions of one of the greatest composers to emerge during the early years of the Soviet Republic, Dmitri Dmitriyevich Shostakovich.

One of the finest chamber music performances I have ever attended took place this past August under far from ideal circumstances. The venue was one-month-old Field Hall in Port Angeles, Washington, a city of fewer than 20,000 people known more for its port and proximity to the Olympic National Forest than for its rich culture. Perhaps that reputation will soon change, because the performers in the concluding concert of the Music on the Strait chamber music festival included its two local founders, violinist James Garlick of the Minnesota Orchestra and violist Richard O'Neill, the newest member of the Takács String Quartet. These excellent musicians, who have been friends since high school, were joined by the superb pianist Jeremy Denk and cellist Ani Aznavoorian. These are world-class musicians who attract eager audiences to New York's 92nd Street Y and Carnegie Hall, London's Wigmore Hall, and other prestigious venues. . .

What was true for that live performance in Field Hall is also true for performances reproduced on audio systems: A system can be less than technically perfect yet still transmit with eloquence every iota of care and feeling that artists and engineers put into recordings. Perfection is not an essential component of musical truth. Inspiration is.

Lest readers think this preamble is intended to suggest some shortcoming in the component under review, the Accuphase A-300 monophonic power amplifier ($51,900/pair), let me reassure you at the outset: Time and again, the A-300, like Jeremy Denk's artistry, inspired a state of wonder. The more I listened to the A-300 monoblocks, the more I wanted to listen. In my too-busy life, every occasion for listening was an occasion indeed, a special event.

Piece of cake, thought I. All I needed to do to review Wilson Audio Specialties' smallest active subwoofer, the LōKē ($8950 each in standard finish), was describe how low a pair goes in my room and how cleanly they woof.

As I was soon to learn, though, there was a lot more to reviewing LōKēs than that. Why? Because a pair of LōKē subwoofers does more than reinforce the already deep bass extension of the Wilson Alexia V loudspeakers with which they are now paired in my system. Therein lies the tale.

The finest soup I ever tasted was served in Kamakura City, Japan, in 1992. After climbing a mountain to a shrine that held a lock of Buddha's hair, I descended to Kamakura and walked to its Great Bronze Buddha. By the time I had taken my fill of the image's 730-year-old wonders and the countless picture-taking tourists at its base—a mild precursor to "the world is a backdrop for my ego" snappers of the smartphone age—I noticed that my stomach was growling.

Exhausted, I walked back into town and descended stairs into a conveniently located corner restaurant. I had to eat fast because my train back was departing soon. Looking for something quick, I ordered miso soup and eel over rice. Imagine my surprise when I found myself gazing into the most wondrous bowl of soup I'd ever seen. Floating on top of its clear, brown broth were various vegetables and herbs, each perfectly positioned in relationship to the other, as in a handcrafted textile. I felt as though I'd been granted private access to a great work of art.

What does this have to do with the Electrocompaniet AW 800 M Reference power amplifier ($22,500/each) that is the subject of this review? You'll have to read on to find out.