The Order of the Honey Fly - Music of Forqueray

 

On an autumn afternoon in 1682, in the Music Hall, next to the Orangerie, at the Palace of Versailles, a 10-year-old boy stood facing the monarch, looking bravely and defiantly, holding a 3/4 violin in his hand, which was too big for him, as everyone immediately noticed. Despite this, his playing completely impressed the curious court audience, and especially Louis XIV, the 'Sun King'.

 

 

 

 

Antoine Forqueray then received the best education, his talent very quickly blossomed, and at a very young age, at the age of 17, he was appointed as a musician, the 'musicien ordinaire', in the famous La Chambre du Roy, of which he remained a member until his retirement.

His career took off nicely, the Sun King with great skill 'running' two famous viola players in the court, practically at the same time; they pulled each other up as rivals.

 

 

Antoine Forqueray

 

Marin Marais

 

 

It was Marin Marais, 16 years his senior, who brought the viola da gamba and raised it to its peak, as Daquin wrote about them after their death:

"We can say that no one surpassed Marais, only one man could equal him, and that is the famous Forqueray",

And Le Blanc, in his work 'Defense of the Viola da gamba against the aspirations of the violin and the demands of the cello', wrote:

"The empire of the viola da gamba was founded and greatly strengthened by Father Marais, […] and Father Forcroi has beautifully expanded this empire. […] One was proclaimed as an angel, the other plays like a devil."

Marais' music is rich in harmony, deeply emotional, sometimes a bit meditative, an 'introverted' type, the Swiss doctor would say, while Forqueray, with his explosive, virtuoso, extremely expressive music, could be a basic example of the 'extraverted' type.

Is this true?
I suspect that the situation is much more complicated and seems to break out of the reassuring typological classification.

 

 

*  

 

He had access to the highest court circles, often giving concerts at the invitation of the Duchess of Maine at the Chateau de Sceaux, and participating in the nightly celebrations of the Grandes Nuits de Sceaux, with the knights who gathered under the banner of the Order of the Honey Flies from time to time, practicing secret-joking rituals.

 

 

 

This order was founded in 1703, by Anne Louise Bénédicte de Bourbon, Duchess of Maine, in the 'Little Court', this court-within-a-court was created on the estate of Sceaux because she could only be the secret wife of the Sun King's son, so she needed a place where she could hide from intrigues and have fun. The order was a parody order, it initially had thirty-nine members. They all wear clothes embroidered with silver thread, a beehive-shaped wig and a medal engraved with the profile of Louise-Bénédicte, wearing the medal was mandatory day and night...

 

 

 

The origin of the humorous name may have been that this queen-maiden was short in stature and uttered the proverb that the bee is Piccola si, ma fa pur gravi le ferite, meaning that the bee may be small, but its sting is serious.

 

 

 

From this perspective, this was a bit foolish and pointless and wasteful and ridiculous, but our opinion immediately improves if we add what a high-quality cultural life took place here, with lavish theatrical performances, public readings, high-level patronage, the most famous writers and poets, musicians, Marais, Forqueray and de Visée all exchanged doorknobs in the palace.

 

 

* 

Forqueray, with his fiery nature, retired in 1736, remaining in favor throughout, and living for another eight years. He was so respected that he received not a favor, not a pension, but a full salary, with all the benefits, for the rest of his life.
He published nothing during his lifetime, his works were published by his son, the 29 pieces that remained out of the alleged several hundred.

*

There's a record that's pretty old, but it seems to get better with time. If you look at the year, 1980, the recording was made in 1977, it's an 'impossible' category, given the sudden rise of Early Music in the '90s, when all previous performing practices went down the drain.

So, a very strong exception. School-creating? I don't think so, rather completely unique.
And a performance of such a high standard that it is unmissable. Myself, and many futurologists/foresighters, envisioned around '90 that by the 2020s there would be a million great Forqueray recordings, and the old ones could quietly gather dust, in peace.
That's not what happened. The rise of Early Music is over, the whole movement has normalized and settled into place, it is still somewhat on the periphery, the average standard of gamba performances is delightfully great, but for example. they don't reach this record.

*

Forqueray's approach is probably not simple. Neither on the presenting side nor on the receiving side.

Because there is some secret factor in his music that perhaps makes it a little incomprehensible. Sometimes.
Because there is a slight restlessness, or rather excitement-movements, even in the very slow pieces. No, it is not bouncy or anything like that, nor the fast movements. It does not operate with primary rhythm, but it completely feels as if the old mystical tripundum were returning, from the era of early polyphony, from about 300 years back. Which is the art of rhythm creation, where the rhythmic formula indicated by the score is just the tip of the iceberg, it is just a suggestion, a distant position, an approx. opinion experiment on how the external / internal rhythms, vibrations, periods are actually connected in an extremely complex fractal-like network, from the smallest vibrations to the spherical movement of the planets, through the human psyche. This gives a slightly strange feeling, as if the music is packed everywhere, or rather denser than usual, and there is never, really, a single second of it being boring or uninteresting.

 

 

Because it's full of gratuitous interruptions, when the melody is going, nicely, in the usual harmony of the early Baroque, then, swoosh, the notes drop to around the lowest seventh string, there are strange semi-dissonant frictions that are simply beautiful. Beautiful. It's really good to listen to.

 

Because there are a few parts where, as if Forqueray is going a little crazy, I inevitably think of Psyché.

... nem feledem a verseit: se értelme, se metruma, se cadentiája; zászlók, körtvélyek, erdők, tavak keringnek, úsznak, rend nékűl, vagy a bolondság isméretlen rendgyében. Mit tagadgyam, nékem igen tetszett: álmomban hallok illy költeményeket, s ha fel-ébredek, nem marad bellűle semmi...

Roughly:
... I will not forget his poems: neither their meaning, nor their meter, nor their cadence; flags, circles, forests, lakes circle, swim, order, or madness in immeasurable order. What can I deny, I really liked them: I hear such poems in my dreams, and when I wake up, nothing remains inside them...

This feeling quickly fades away, because you can sense that the whole thing is meticulously planned, more like it's showing us Beauty and Harmony with boundless vehemence and enthusiasm.

 

Carl Gustav Jung

 

The typification of the Swiss doctor becomes very complicated here, because the strange situation arises that the extraverted, very expressive and very virtuoso Forqueray, with his difficult and quarrelsome nature, who draws his energy from external factors, seems to have created very complicated and layered and deep-creating music. Some linguistic metaphysics also comes into play here, because for some reason the 'expressive', the very expressive, is usually given the 'slightly superficial' meaning field, and on the other side, we think that turning inward automatically means depth.
However, here it is exactly the opposite.

 

 * 

 

The performance.
Here you can see something like in the very old Poirot stories, I'm thinking of the English series starring David Suchet.

 

In the first series, where the actors are still very young. It seems that there are the same, very complicated, almost unsolvable crimes as in the episodes filmed 20 years later, where they maturely give the best of their art, but here, on the ancient, still 4:3 screen, the magic of youth works. The world is somehow more colorful. Behind the scenes, there is a delicate, unwavering good humor.
And the pipe.

 

Secret, inner smiles, twinkling eyes, and as if everything, really everything, were a little simpler, clearer. And more wonderful.
And always with a little humor in the background, no matter what happens.

 

I feel the same way on this album.
Forqueray's complexities roll so effortlessly that we don't even notice.

 

 

 

 

That they penetrate straight to the center of our hearts.

 

 

 

 

 

  *  *  *

 

 

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The Sounds of Silence - Pro-Ject RS2T CD transport review

'Perfect Days' is a very good movie. It has many layers, a delicate spirit, I could write about it until the evening - and there is a tiny slice in it that belongs here, for hi-fi, for listening to music.

Do you remember?, in the story set in the present day, the main character always listened to old music, moreover, on cassette, and in the second-hand record store, the seller said that he would buy any number of program cassettes, because it was very fashionable now.

In Japan, of course.

Will the same thing happen to the CD? It is very difficult to predict this right now. What seems to be the case is that file-based listening has completely displaced the silver disc, and player development has practically stopped, even though large CD collections of several thousand have accumulated on the shelves of serious music listeners. Exceptions can be counted almost on one hand.

One of them is the Pro-Ject RS2T. 

Pro-Ject is a famous name and has always been famous for their LP players.

RS2T is a completely new device, apparently designed for those who still listen to music on CDs but want something better than before.

Why only transport?, but this is obvious: there are a lot of d/a converters on the market right now, especially because of the new file-listening, they're new, and they sound much, much better than the old DACs. New chips, previously unattainably low distortion values, new solutions, plus the rise of premium Chinese devices are typical of the current period.

CD transport - this is a complicated thing. Mostly because, besides cables, it is one of the biggest hi-fi labyrinths, full of unanswerable questions.

One of these questions is the incomprehensibility of the basic thesis itself: why do two CD transports sounds different from each other at all? Why spend a lot of money on this at all? Aren't the ones and zeros the same? 

10001110100001111010101 ≠ 10001110100001111010101 ???

Wasn't digital technology invented so that it wouldn't be, for example? How, for example, can there be a bass difference between two chassis? So, will the digitally controlled ABS in your car work differently if a different wiring goes to the sensors?

The answers or attempts to answer are almost ridiculous. Spaceships are landing on the surface of Mars, but knowledge is stuck here at the hifi-surface, it seems.

There was a time when the jitter was the main villain, everyone kneaded on it to make it as small as possible. There were decades when fabulous industrial artifacts were created, with half-kilogram plate clamps and sapphire bearings and industrial lasers and price tags over 10k.

There were times when the digital output stage and the coulping solutions and the digital interconnect was the main topic. Nowadays, for example, minimizing analog interference signals is one of the bridgeheads. However, the perceived sound quality did not want to show any clear correlation with these technical things.

If you want a good CD transport today, there's a good chance you'll get lost in the maze. Because there's serious chassis with bad sound, and there's swaying plastic transports with brilliant sound, and the opposite is also true.

From there, my own experiences follow, and the thoughts drawn from them. Err reserved, this is only natural (or should be) in hi-fi.

 

* 

The old, well-thought-out, proven chassis performed poorly for me without exception.

The legendary Sony mechanics work perfectly after 25 years, and their lack of musicality is downright alarming.

 

Philips-based solutions, led by the CD Pro2, which are 'the best CD transports available', gave a strange vagueness, shameless data swallowing in the top range, imitation of ill-conceived analog sound.

That's what got me from those. Even if they used to give you a good car for some. I've heard this even with revolutionary DIYer solutions. As if there were an invisible sphere that they could not break.

Today's players, the few I hosted, have already shed this veil of obsolescence, but in return there were huge problems with tone. In particular, upscaling solutions have brought something strange to the music, even though they measurably 'carry' specific distortions out of a range that is particularly sensitive in digital technology.

In the end, I had two devices that performed perfectly as CD transport for a longer period of time. 

One of them is the Heed Thesis Delta, which only has a coaxial output, and is not even optimized for transport-only use, but still, something special rolling-feeling and sound-beauty is what it produces.

The other is Mark Levinson №.512, the 'Lord' who, with the price of ex15k, obviously plays in the upper caste, where the most painful vocal errors can sometimes be heard. Here, the 512 is an aristocratic, big sound with a subtle tone, of course 10 kilos of unnecessary parts that don't play a role when used as transport, so it's a slightly unnecessary luxury, although I might add, this is true for the whole hifi / HighEnd.

So, that's the sound environment / background for me, and that's what the comparison went to the most. Concert experiences, instrument sounds, imagined tones, expected sound ideals, preferences according to individual tastes support the subjective account below.

Which is mostly about the experience, the feeling.

 

How did Géza Ottlik's character, Gábor Medve, say in the novel Buda?

"What we certainly have, says Medve, is feeling. There is nothing else so certainly. The existence of the world, of other people, is hypothetical, a presumption, an assumption that you can make probable with a sufficient number of trials. You accept it as existing, since you can't do anything else, but it's better not to forget that only the feeling is not hypothetical, surely it is.

However, the feeling is inaccurate before looking for words, trying to find it. It is fundamentally and inherently inaccurate."

 

 

 

 

 *

At the heart of the RS2T is the Pro8, a mechanism designed by Stream Unlimited in Austria, controlled by the BlueTiger CD-84 servo.

 

 

Top-loaded and mechanically suspended; he underneath the carbon fiber outer layer is surrounded by a solid aluminium housing.

 

 

 

There is no power supply inside, this is important. The external power supply that comes bundled with it is a 3A switching power supply, kind of like a laptop charger, and it's not bad at all. Optionally, a linear power supply can be ordered as a separate device with a toroidal transformer inside. 

Sonically, the linear power supply really seems to be better, but unlike the other testers, I don't think the difference is dramatic. And it doesn't make another approach. There won't be a new voice. The frames that make me love this device so much remain exactly the same.
The LPSU gives a livelier, buzzier, more hi-fi sound, a bit over-balanced. Nice, most of you will probably like it better. The SMPSU is calmer, perfectly balanced in the middle on systems with sufficient resolution, and gives the almost surprising lifelikeness that makes it clearly better for me.

The listening experiences below were born with the original, accompanying food.

The suspension was apparently made with special care; I imagine that they chose this version after many auditory tests.

Really touched, it's a very fine piece. Small, chunky, quite heavy. Gently opening / descending lid, an ultralight puck. And enormous display with big numbers, brightness adjustable, it can also have black base. It's 2024, so you can display CD metadata: both the album title and the track being played can be read.

The remote control is full metal, demanding, handy - of course I reprogrammed my teachable one to the basic commands.

 

Reading is fast, everything is nicely quiet. There is coax, symmetrical and I2S exit - the latter, like the Heed Delta, has the 'European' layout, so not detected by the Chinese Gustard DAC, so there is no experience of this. For me, XLR sounded better than coax, which is not surprising.

The quality of the digital interconnect is key; there will be a weak sound with a weak cable, this is also not surprising. He likes the ultra-thin Radnai bare wire just like the other transports; you have to go very high in price to find a better connection.

 

*

 

Well, finally, the sound.

What is it like?

Well, it's just phenomenal.

I didn't think I'd ever hear anything like that from a 44.1 RedBook conventional player.

Let's consider it in more detail:

The noticeable difference, surprisingly, first appeared not in complex music, but in the single-threaded vocals. This Graindelavoix record, it's a difficult one, there were a couple of years when I thought there was a sound engineering flaw here, that it was so shouty.

 

Pro-Ject is simply magical here. I don't know how he does it. The layering of the midtone has increased into something incredible. Is there some sort of resolution improvement, or rather error exit?, I don't know. A straight, sustained sound, and hitherto unnoticed inner subtleties appear. You could say horizons. Spacious, infinitely free. There was no trace of sharpness. That is?, it turns out again that we are lame at the hifi, there is absolutely no problem with recording.

Savall disc, on SACD. The normal layer crammed into the crippled-small space must now be played.

 

Especially good. Suddenly, upon entry, the background becomes full of noises, noises and barely audible background information. So far, I've heard this about SACD the most, but here we're below the 44.1 limit, which is almost incredible.

Piano.

It's practically the first time I've heard exactly what tone that piano is in the night brothel where it was recorded. (Because I think it is.)

The piano-piano difference between the CD transports here is particularly interesting. Because the smaller the difference, the bigger it is. Actually, roughly objectively, the difference is probably minor. But our perception works with strange twists and turns. For large discrepancies, we immediately detect, compare, comment, OK.  With such small differences, our brain simply changes scale, much like a microscope, when we turn a more powerful lens instead of 40 and suddenly hear and imagine new sets of data, new sounds. And the experience will be quite powerful.

Harpsichord. The nightmare of digital technology. Because there are frighteningly many sensitive overtones. The analogue tends to beautify, swallow, transmit, simply smooth out the bad parts. Moreover, in even/odd class harmonic distortions, analog is simply in a more fortunate position, that is, more tolerable. LP fans jump right now for me, but I've only heard good harpsichord sounds from digital so far, quite rarely, I have to say. Because digital disturbances, distortions, deviations that cause all kinds of discomfort are not beneficially absorbed, but shine in the sun in their complete nakedness.

Here is 1 sec. below you hear that this is very good. Specifically, the best I've heard so far. However, I have a 'harpsichord-optimized' system. The many strings, we already had. However, their separation is now at its best. And something fabulous with instrumental case resonances.

 

Every piece of music tells you that the RS-2T is a deeper thing. Airier, lighter, bolder. The background is blacker, the silences are bigger, quieter, an imaginary basic noise level has jumped lower. The sounds of silence may be very important after all. The easily describable hi-fi parameters, e.g. bass volume, top registers, or space have been good so far; This is something more elusive. I am an advocate that good hi-fi is actually a matter of personalization, so it can happen that we look for and produce something more beautiful and better than real instrument sounds. Here with the RS-2T, however, I feel that the balance is not being embellished, but tilting the scales towards the more real.  And the point is that it feels like more data is what makes music. Because we simply hear more about the CD. Probably that's not the case, it's that what happens is that certain errors, distortions, strange-tasting nonknows, have somehow been subtracted and simply allow the music itself to 'come out'.

Finally, there's a plate where the RS-2T is particularly fantastic. 

A human voice, a monotonous humming, various short readings, accompanied by an electric bass. (article about it here). Yes, acoustic instruments, gamba, piano, so now that would be the real thing, only those are good to test, blah... blah.. and so on, but now, for some reason, it hasn't become.

It's that the humming is so realistic that it could be embroidered on the flag of the BBC school - that's pretty much what we expected, didn't we?, but I didn't expect this artificial bass accompaniment, this one in fact to break up into a thousand more threads, it got deeper, and it happened like string multiplication on the harpsichord - I had never heard anything like that.

 *

 

It's the top-loading mechanic, it's not that simple either; it's not just that Pro-Ject makes LP players, that's obviously where the idea comes from.

 

 

The situation is more complicated, gradually it turns out that this is almost a metaphysical issue.

Because you have to get up from the armchair, go there, open it with both hands, because you can't do it with one hand, take off a little weight, gently set aside a small weight so that it doesn't fall, roll, hold the disc skillfully, spread it with two fingers, it's not so easy, lift it, put it back in place, put the other CD in gently, put a little weight on it, pay attention to it right in the middle, close the lid carefully, go back to sit down, grab the remote control, finally press the 'Play' button... - well, this is far from ergonomics and speed and efficiency and purposefulness.

But if we strain our brains a little, we will slowly realize that, for example, the most famous and expensive porcelain teacups have such uncluttered ears and are so vulnerable that it is a complete stunt to hold them without breaking them.

And here's the point: this thing is actually civilizing.

 

 

 

 

It teaches careful, concentrated movements.

It teaches listening.

And the tea is guaranteed to have a different taste. Because it's a ritual like that, it's a rite.

What is a ritual?, well, a thing that sometimes seems complicated and meaningless, but we do it in order for certain things to happen. Here, in the case of the RS-2T, to make the system sound good, to make listening to music itself a great experience.

It will be.

I am absolutely sure of that.

Try it. There will be no disappointment.

Absolutely recommended.

 

 

 

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Thank you for the pictures
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