Music Lane

It's all about the music, dude! Sit down, relax and listen to some tunes.

Use this form to submit comments directly to the Asylum moderators for this forum. We're particularly interested in truly outstanding posts that might be added to our FAQs.
You may also use this form to provide feedback or to call attention to messages that may be in violation of our content rules.

You must login to use this feature.

Inmate Login

By default, logging in will set a session cookie that disappears when you close your browser. Clicking on the 'Remember my Moniker & Password' below will cause a permanent 'Login Cookie' to be set.

Moniker/Username: The Name that you picked or by default, your email. Forgot Moniker?	Examples "Rapper", "Bob W", "joe@aol.com".
Password:	Forgot Password?
	Remember my Moniker & Password ( What's this?)

If you don't have an Asylum Account, you can create one by clicking Here.

Our privacy policy can be reviewed by clicking Here.

Inmate Comments

From:
Your Email:
Subject:

Message Comments

Original Message

Jeez, Chris.

Posted by Rick W on January 7, 2017 at 15:57:23:
Anonymous? I can only assume you mean lacking personality. Even WITH specific examples of differences in interpretation (none provided) between Kertesz and the Czech conductors you mentioned all you'd be doing is basically saying you prefer one version over the other. Obviously that's fine, but it ain't like 500 other conductors' versions sound just like Kertesz's.
I have all the Kertesz except New World on London LP's and have no complaints. Good music, excellent conductor/orch. and good sound. The personality is in the music, and I hear nothing to suggest Kertesz is hindering that from coming out -- they aren't boring vanilla versions IMO.
I had a couple of the Neumann and got rid of them. Nuthin' special IMO and Superphon sound was not the greatest.
Seems to me that sometimes you create things outta thin air. Rather than English critics "projecting", I think you are the one projecting. There is no reason whatsoever to think English critics who dug the Kertesz/Dvorak "....were projecting their own "thrill of discovery" (i.e., of the music itself) onto the Kertesz recordings....". That combined with the "reports" you mention seems, ahh, Trumpesque :-)