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estebanana -> RE: Bach Cello Suites Compared (Mar. 4 2013 23:59:20)
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quote:
So if Jimmy Page plays it, it's okay? :)
Yes, but if Gene Simmons tried it would piss me off. [;)]
I'm not the police, I don't care who plays it. It is not my intent to judge or deter someone from playing or hearing music they love. I'm just pointing out that music imprints on all of us in different ways, especially in our primary contact with certain styles or works, and much of the time we can't help how we react.
I wonder how many people if they are honest and would talk about it have had similar reactions to certain music or recordings.
I was amused later that the Barrueco made me angry. Rather like watching yourself do something you think you would not do. I mean how often do you have that kind of reaction to classical music? Bach certainly is not controversial in the way The Rite of Spring was when it premiered and drew anger from the audience. ( one of my favorite works) I saw it more as a positive thing than a bad thing. I'm ****ing alive! And I'll say I have heard Barrueco play on other recordings and liked it very much.
Perhaps in someway Barrueco would like it that it was so emotional and not just blah blah blah. I also have the Paul Galbraith recordings of the Partitas and Sonatas and they seriously put me to sleep. I can't stand his tempos, but his phrases and paced thoughtfulness are wonderful. When I saw him play some of them in person, I did not feel the same way about his as I did on the recordings. I liked his in person performance of them much, much better.
I think in classical guitar and classical music in general today, since the late 1980's, that perfection has been chosen over performance on recordings. Editorial tweeks of notes and the overall sound envelope is more restrained and mannered. I think the ability of digital editing to easily swap out notes or phrases from several takes to create a perfected sonic collage has been the downfall of some recordings. It's kind of musical homogenization.
Interesting as a side note if you will, the first time a recording producer swapped out bad note on a recording was on an operatic project. It happened in 1952 when Elizabeth Schwartzkopf sang one high C which was edited into a recording of Wagner's Tristan und Isolde that was being sung by Kirsten Flagstad. Flagstd missed the high C during the recording session and later during production Schwartzkopf was called in to sing that one note into place.
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