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RE: another 1065 in lateral form

Posted by Satie (A) on May 7, 2015 at 00:10:06

In Reply to: RE: another 1065 in lateral form posted by Norman M on May 6, 2015 at 12:45:56:

They did the recordings in a very reverberant ballroom with the 3 mics too far off, the same set of sessions has his bach cello sonatas with the piano being more of a distinct image than less but Starker is swallowed in the reverberation. If you listen to just the finger noises on the neck then there is far less of a question of where Starker actually is.
There is a similar problem with Bell's recording of Prokofiev sonatas in a reverberant church. All space and no distinct location to the violin.

My sis loved playing the Bach suites in reverberant spaces like our orchestra's rehearsal room that used the players as the sole sound treatment. The effect is very similar to what you hear on the Starker - with all the reverberation going on you could not recognize where she was with your eyes closed.

I wish someone would tell the artists that it does not sound to others.like they think it does The home listener does not have the violin stuck at his ear to make up for the smearing of everything in reverberations, and does not hear the violin from inside his head as musicians tend to.

I don't think the recording is a failure in sound, I think the deliberate choice of venue is what you hear. The presence of so much hall sound is what Starker obviously wanted. It is also the kind of space the suites would have been performed in Bach's time.

The DG recordings of Menuhin doing Beethoven Sonatas brings the opposite problem as you can tell with precision where he is as he dances around the piano and comes nearer and then farther to the mic closest to him. The space is much drier and the mics are placed fairly close to the performers.

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