Classical Radio

[Claudie MICAULT]

I agree on what you are saying. I definitively prefer the concert performance, live recordings, and old records. In France we say "on ne peut pas faire d'un âne un cheval" and of course a good technician cannot do nothing with a performer who lacks totally of feelings, but he can do a lot to add "nuances" and dynamic. And knowing that makes me always feeling uncomfortable with new recordings. For that I prefer the old recordings, because only the performer did everything.

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Claudie

[Peter]

Originally posted by Claudie MICAULT:
I agree on what you are saying. I definitively prefer the concert performance, live recordings, and old records. In France we say "on ne peut pas faire d'un âne un cheval" and of course a good technician cannot do nothing with a performer who lacks totally of feelings, but he can do a lot to add "nuances" and dynamic. And knowing that makes me always feeling uncomfortable with new recordings. For that I prefer the old recordings, because only the performer did everything.

I agree - these days virtually every note is edited - the drive for perfection is at the cost of the soul of music. We are fast approaching doing away with the performer altogether.

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'Man know thyself'

[Joy]

I agree. I prefer live recordings and live performances. There is nothing like going to a live performance and being part of the atmosphere of a live performance. I don't care how many CD's, etc. you have, there's something special about the live interpretation.

[dice45]

Hello Claudie, Peter, Joy and all,

I agree - these days virtually every note is edited - the drive for perfection is at the cost of the soul of music. We are fast approaching doing away with the performer altogether.

to come back to the topic, Tidbit Radio and derivatives "advertise" the music as if it would be shampoo or another given consumable.

Let's face facts, the majority of the recording industry produces, markets, sells music as product, as consumable, meant to be used once and trashed.

So what can we expect nowadays from canned music permeated with this sort of Zeitgeist?

Originally posted by Joy:
I agree. I prefer live recordings and live performances. There is nothing like going to a live performance and being part of the atmosphere of a live performance. I don't care how many CD's, etc. you have, there's something special about the live interpretation.

No question, I also like life performances very much. The problem usually is that the life performance's performer is the the same person who also delivers for canned music; to be successful in the canned music field, the spirit has to be compatible with what the recording industry's producers are expecting, IOW, spiritless as shampoo.

I'm the sort of person who prefers the good to the new. So if the life performer is/are one of those shampoo guys, I clearly prefer an old, canned performance I know to be good and permeated with spirit and Zeitgeist of the 50ies or earlier to to a life experience of today which is about to hurt .

I am glad to listen to spirited life performances even if there are technical problems occuring. I do not listen to flawlessly, soullessly playing guitarists like Pepe Romero, I truly prefer to listen to Julian Bream even if he has the usual problems.

I am glad I had a few magic life experiences, unforgettable truly. But most life performances I attended had enough room for wishes left. Unfortunately the magic of the life experience doesn't bribe me enough to accept a performance I consider to be lousy.

While I am typing this, spinning on my TT is JSBach's Kunst der Fuge, played by Helmut Walcha. I bought this copy for my friend and just intended to check record's condition. Now I cannot stop listening. The magic was fully there with the 1st notes. As some may know, H.Walcha was blind and had to play the whole Bach from memory. Listening to this is like observing a mystic pray and being glad to share space with him.

Greets,
Bernhard

[kerryblue]

In Washington DC the local classical station ran a similar contest wherein one could vote on the internet for a favorite composer--the contest paired 64 composers against each other in 4 divisions with, as an example, Mozart ranked #1 in his division with Zach (whom I hadn't encounterd heretofore) ranked 16th.

The only problem was that one could vote as often as one wanted on the internet simply by clicking madly on one's mouse, so some mischief makers voted numerous times for Zach, and he ended up defeating Mozart!

Such is the state of classical music in DC!

Regards

Originally posted by Joy:
On Thursday the classical radio station had a 'listener's choice' day where people all week were calling in and requesting their favourite tunes. Well, I'm happy to report Beethoven was the overall #1 requested composer and 'The Moonlight Sonata' was the #1 requested song. A far back second was Tchaikovsky's '1812 Overture' and Vivaldi's 'Four Seasons' (Summer) probably because it's summer here in sunny AZ and hot!!!
Joy

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Cheers!

[Peter]

Originally posted by kerryblue:
Zach (whom I hadn't encounterd heretofore) ranked 16th.

I'm not surprised you've never encountered Zach - nor have I - surely they mean Bach!

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'Man know thyself'

[oboe_15]

Chris,

You are not alone in learining the first two movements to the moonlight sonata. Myself and every pianist that I know all know it virtually off by heart (due to the fact our releaving music teacher almost makes it compulsary to learn them!)and I must say that after learning and reciting the first movent for such a long time, I think I had tears of joy when she said "Arron, I think that you are up to the second movement" It was a good day!

Beethoven rocks!

Oboe_15

[Joy]

Originally posted by dice45:
[b]Hello Claudie, Peter, Joy and all,

No question, I also like life performances very much. The problem usually is that the life performance's performer is the the same person who also delivers for canned music; to be successful in the canned music field, the spirit has to be compatible with what the recording industry's producers are expecting, IOW, spiritless as shampoo.

I'm the sort of person who prefers the good to the new. So if the life performer is/are one of those shampoo guys, I clearly prefer an old, canned performance I know to be good and permeated with spirit and Zeitgeist of the 50ies or earlier to to a life experience of today which is about to hurt .

I am glad to listen to spirited life performances even if there are technical problems occuring. I do not listen to flawlessly, soullessly playing guitarists like Pepe Romero, I truly prefer to listen to Julian Bream even if he has the usual problems.

I am glad I had a few magic life experiences, unforgettable truly. But most life performances I attended had enough room for wishes left. Unfortunately the magic of the life experience doesn't bribe me enough to accept a performance I consider to be lousy.

While I am typing this, spinning on my TT is JSBach's Kunst der Fuge, played by Helmut Walcha. I bought this copy for my friend and just intended to check record's condition. Now I cannot stop listening. The magic was fully there with the 1st notes. As some may know, H.Walcha was blind and had to play the whole Bach from memory. Listening to this is like observing a mystic pray and being glad to share space with him.

Greets,
Bernhard

Hello, Bernhard,
I couldn't have said it better with regards to live performances. I'm not bothered with some technical problems either as long as the performance is full of soul. Mistakes can be forgiven but to play without feeling...I go to a lot of live performances mostly 'All Beethoven Concerts" and really enjoy them. So far, I've not seen a bad performance. I've been fully satisfied.
Joy

[Claudie MICAULT]

Yes Joy : if a performance is "full with soul" we are in the sky... I don't bother about technical problems if the artist GIVES something....
The problem, actually, is that the "virtuosos" are searching more the "brilliance" as the soul while playing.

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Claudie

[Peter]

Originally posted by Claudie MICAULT:
Yes Joy : if a performance is "full with soul" we are in the sky... I don't bother about technical problems if the artist GIVES something....
The problem, actually, is that the "virtuosos" are searching more the "brilliance" as the soul while playing.

Although I agree that musicality is what counts, unfortunately without a sound technique it's not possible to achieve proper expression - First we slave to achieve that technique, then it has to be forgotten to let the music speak.

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'Man know thyself'

[Claudie MICAULT]

Of course ! Technique is the way to interpretation.... but I prefer a big soul with a pair of false tune that a perfect typewriter without "anima". I was anyway speaking of interpreters of high level.

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Claudie

[MCS]

Much belated thanks to Serge for tuning me into CBC2. Finally, I can hear the music I like without ads for living will kits and retirement homes!
Hmmmmm......What does that say about those who listen to classical music? Are we a bunch of old foggies?

Mary(who hasn't hit foggiedom, yet)