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208.58.2.83
In Reply to: "…under those circumstances the box set represents an expansion of an already intimate knowledge…" posted by David Aiken on March 22, 2007 at 17:05:49:
...*not* explore further because of dull performances.And especially with Bach, the "mathematical composer", the keyboard works can get pretty damn dull in the hands of many harpsichordists. Ditto the solo fiddle pieces.
clark
Follow Ups:
Well, for a start, Bambi's comments seem to indicate that these are reasonable performances. That seems a strong point in favour here.It's possible that some people, hearing a 'dull performance' are going to recognise the quality of the music and look for a better performance. It's also possible that some people, hearing a good performance, are going to think "that's it" and not consider the possibility that there are equally good or better performances out there worth exploring. For a relative newcomer to Bach, both are possible.
I guess my feeling is that if there are some good performances in the set and the listener comes across those, then they're going to respond to them. If they find some other performances dull but the music interesting, they are going to be more likely to explore further performances of those particular works based on their other good experiences from the set.
One thing is certain. We can't save people from themselves. We all have made mistakes based on past experiences which were bad and unrepresentative of the music. In time we usually recover because we eventually do hear the music again, and we can and do change our views at times.
My fear, with a set this size, is simply that the newcomer is going to feel swamped and do something stupid like trying to listen to all of it in a too short period instead of simply picking a disc from a different aspect of Bach's work and sampling through the set that way at a reasonable pace, say a disc every 2 or 3 days or so, until they get a feel and appreciation for the music and can settle in for "a binge" every now and then. As someone who has, on occasion, purchased large sets (the Philips 32 LP set of Arrau's Beethoven sonata cycle does come to mind), I think the biggest problem people face with large sets is simply their size and learining that you don't have to justify the expenditure by trying to play through the whole set in a short time, or at some fixed pace.
David Aiken
Call it "hyper". I hear that a lot on harpsichord recordings especially and I find it extremely irritating. I can imagine an unwitting listener being put off forever.By the way, I find most, not all, Arrau performances to be on the, ah, former side.
clark
Arrau may be on the dull side but that particular set was, when I purchased it, probably the equivalent of this Bach set as far as price goes. I think it provided good value.Harpsichord is a difficult instrument to record, and so is the classical guitar which I used to play (or try to play). I find many classical guitar recordings are recorded far too close, and I find that strange since as a player my ear for the sound of the instrument was formed by what I heard when I played and I was damn close to the instrument at those times. I think the difference is where my ears were, above and behind the instrument at about 90 degrees to the plane of the soundboard and directly above the side of the instrument. That changes the tone considerably. Placing the mic too close to the front of the instrument seems to accentuate the brightness and string sounds, probably in a way similar to what happens with the harpsichord.
I have a friend who loves classical guitar recordings and can't understand it when I say they don't sound realistic or natural. I think he has little experience of the live sound and what little he may have will have been in concert venues, possibly with a microphone being used, not in a normal sized room at close proximity.
I have similar problems with chamber music. A lot of the recordings are overly close and many concert performances are in rooms too large to be "chambers" and with acoustic characteristics better suited to symphonic music. Neither gives you the effect of a live performance in an appropriately sized room at the distance the audience would be at in such a room.
David Aiken
It seems they're usually too close, or too far away.You know what works for me? The sound the engineers achieve on Prairie Home Companion.
clark
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