Audiophilia - that pursuit of good, reproduced sound - is a thing we see manifest through collecting hifi gear, through different audio formats (vinyl, CD, high-res digital), and our listening environments (acoustic treatments, anyone?). People become interested in good sound quality might call themselves audiophiles, and I do care about sound quality, but within good reason. This post isn't about trading up your stereo system, but rather reocrdings that really sing on your system - whatever system you have.

Then there are so-called audiophile recordings—this concept might go by other names, such as "reference recording" or "audiophile pressing" or other some such label to indicate that the album is special, and that it deserves, perhaps, an especially high price. But what I wanted to discuss through this post isn't special vinyl pressings of albums or re-mastered classic albums in high-definition digital. Instead, I wanted to discuss some albums I listen to frequently because the sound from that album is so damn good.

I am not sure giving these albums an "order" or rating them on very best to "good" is even warranted. But to me they have that certain special element to them; it's usually the separation of the instruments, or the clear bass, or the really good imaging, or how the recording captures the performance space. But objective criteria aside, these albums make me feel good. Which means it's more than the talents of the recording engineers, they are generally good music, too.

I probably will add to this discussion later with a new post at some point in the future, featuring additional albums.

Johann Sebastian Bach: Die Kunst der Fuge by the Austrian Art Gang, Gramola Records.

This incomplete album of Bach's series of fugues, or as he calls them each a contrapunctus, is viewed as his last work, and one that scholars have believed was left unfinished. The album seems to be part of a collaboration of musicians to perform this work for a festival; clarinet, sax, guitar, bassoon, cello, and bass all come together in interesting ways to give us a jazzy version of Bach's BWV 1080. Yes, jazzy, there's improvisation, and while that sounds like a recipe for disaster, it's all the more interesting the more you already know Bach's Art of Fugue. The recognizable bits come in and out of focus and the result, for me, is sublime. Each musician, I have to say, plays their parts well, and it's all captured in this gorgeous sound. The bass instruments carry a weight that often isn't felt in the context of most albums. The "air" or environment for the ensemble seems just perfect, every instrument comes across clear, and I often times feel I'm in the same room as these musicians.

It doesn't hurt at all that it's also one of my favorite pieces of music.

Astor Piazzolla and H.I.F. Biber: Misterio by Julia Schröder and Lautten Compagney, deutsche harmonia mundi.

This album is a strange one, programming wise, pitting pieces by Biber and Piazzolla together. How did they know I loved both composers? The album comes across on the wet-side with the acoustics, but for me the Piazzolla nuevo tango pieces are interesting using baroque instruments. Their performance of La muerte del Ángel is among my favorites. The crispness of the harpsichord and violin within the warmth of all that reverb shouldn't necessarily work, but the result sounds so darn good!

J.S. Bach: Six Trio Sonatas by The King's Consort, Robert King, Hyperion

Every time I have auditioned speakers I bring this recording. I know it well. The mixture of closeness and air around the instruments is so well done, with the winds such as oboe allowing to bloom just enough to sound gorgeous. There is ample warmth in the bass, too, which is nice. Above all of that, the performers feel as if they are at ease and allow the music sing through their instruments.

J.S. Bach: Trios by Chris Thile, Edgar Meyer, and Yo-Yo Ma, Sony

Yes, antoher album of trio sonatas by Bach. This more recent recording features three soloists who also were responsible for the Goat Rodeo Sessions with Stuart Duncan. Duncan doesn't appear in this album, however the three musicians who do are on top form. The ultimate sonata, BWV 1029, is a real favorite, and there is a real transparency between the voicing of double bass, cello, and mandolin. This is one of those albums that seems to work at any volume level, from whisper quiet to "I can feel it" loud.

Gergorio Allegri: Miserere, messe, motets by A Sei Voci, naïve disques

This album presents several versions of the famous piece that was heard by Mozart at the Sistine Chapel in Rome. We have a version of this piece because Mozart wrote it down from memory after visiting the chapel. This ensemble attempts to re-construct the original in their performance.

There are lot of recordings of Renaissance music that capture that church or cathedral acoustic well; I really like to turn this one up when I can; the vocalise by the soprano is in such good tune and arrests your attention, even after repeated listenings. For many years my go-to Aleegri was the Live in Rome album by the Tallis Scholars, but I now prefer this one.

Music for an Antwerp Church by Graindelavoix/Björn Schmelzer, Glossa Platinum

Following my Renaissance kick, this album is far more clear than the aforementioned one by A Sei Voci, and while the style of this ensemble may be an acquired taste, there is no escaping the power of these voices set within a remarkable acoustic.

While this genre of music—unaccompanied sung masses from the Renaissance or even the middle ages isn't my normal go-to music (I find I get lost in the sound), this album I don't want to end. The resulting color of the music is always changing, like light through stained-glass windows. It's remarkable.

The Carlo G. Manuscript: Virtuoso Liturgical Music from the Early 17th Century by Profeti della Quinta/Elam Rotem, Glossa

Recorded in an Italian church on a period organ, Rotem's ensemble of strong singers exercise great care with intonation and way the voices and organ are captured and blend is a treat for the ears. I doubt the sound would have been so pure and clear in person; the recording of this music is a real achievement. When instruments come into focus, the distance sensed helps us see a cogent picture of different forces working together in an authentic surrounding.

Hands by Dave Holland and Pepe Habichuela, Dare2 Records

Yes, the Fan of Biber also listens to jazz. There are many Holland records that I could have chosen; this one, however, I think it the most interesting. His later recordings for ECM especially have featured very wide stereo separation for the instruments. In Hands, he collaborates with Habichuela and friends and many of the tracks make for really good music.

My favorites are The Whirling Dervish and Joyride. The percussion is so clear; there's just enough punch of bass that comes out, and the acoustic is dry which seems to put me right on location.

Caroline Shaw: Orange by Attacca Quartet, New Amsterdam Nonesuch

Living composer Caroline Shaw presents music for string quartet and other instruments; on my first listen I wanted to bathe in the luxurious sound of the ensemble; there is something smooth and artificial about the reverberated sound, but I nevertheless came to find it hauntingly beautiful on repeated listens.

Los Pajaros Perdidos by L'Arpeggiata/Christina Pluhar, Erato

Specifically, the third track from this album, Montilla captures instruments of varying textures and the result is sublime; the polyrhythm makes for a very interesting piece, and the forced sound of the singer over the ensemble lends some authenticity to the performance style used. Ample bass fills out the texture. Other tracks exploit the exotic instrumentarium and I admire how bass always speaks clearly in the mix.