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

Ahh, poor Solti

Posted by rbolaw on April 13, 2017 at 07:05:50:
I think in the sharp hindsight of history, he was let down a bit by Decca's producers and recording engineers by the "juiced up" sonics of much of that Mahler set. It may have been state of the art at the time, or appropriate for the lesser speakers and playback equipment that was then common (my Dad didn't even get a stereo system until 1968) but today we know better, and even the "juicing up" is more subtle and sophisticated.
I was lucky to hear Solti and the CSO in the concert hall many times, and that's what I think of when I think of him.
Still, Newey, you'll be glad to know, I like that set.