Audiophilepure

https://www.enjoythemusic.com/superioraudio/equipment/0726/Merrill_Audio_Element_116MX_Review.htm

I first discovered this LP in the 1990s, when many people were dumping their vinyl for CDs. That was when I found the EMI pressing of this symphony in nearly perfect condition. It was recorded in 1969 and conducted by Sir Adrian Boult, who was present at its premiere. I’ve heard other versions, but this remains my favorite.

Besides sounding very modern for a popular symphony, I’m a sucker for a symphony that contains either a choir or a pipe organ. This symphony has both. The choir appears in both the second and the final movements, and the organ appears in the third movement. Plus, many might be surprised. Many of Vaughan Williams’ works are not sedate snooze-fests, especially this symphony, and especially not the third movement that morphs into the fourth, the second side of the EMI vinyl.

Thanks to the Element 116MX’s enveloping soundstage, I felt as if I could see into the multi-layered, detailed sound and point to the different instruments and sections of the ensemble. This was true even during the explosive third and fourth movements that make up the climactic portion of the symphony. This section describes the adversaries that Scott encountered, which led to Scott’s demise.

Although no home audio system can replicate the sound of a large orchestra and hall, for example, the 50-foot proscenium of the concert hall stage, the Merrill Element 116MX monoblocks placed me in the 10th row of Kingsway Hall in London, where they created a vivid sonic picture of the orchestra, the choir, and the pipe organ.

Above all, Merrill Element 116MX’s midrange was extremely transparent. The upper strings sounded plush and inviting, as the London Philharmonic in the 1960s was a talented group of musicians, including the masterfully sounding string section. The Element 116MX monoblocks enveloped me in a luxurious string sound, revealed the musicians’ talent, and drew me further into the music.

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