Since you asked....Casals was pretty good, but couple notes here and there I can't believe are not considered acceptable errors. He was orders of magnitude better than the horn players on that track.
Then Jackie... you could have warned she doesn't come in until 3:35. At least her orchestra was in tune, but those chords ...Ugh! I already admitted intonating is not easy, but those chords are simply out of tune. I didn't listen further.
Willam Pleeth...well, I guess you have at least hit ONE note in tune first to be considered out of tune later, so sure he was just fine. [:D]. Seriously though, his vibrato is not right, too fast for that melody and the rhythm of the chordal accompaniment it just doesn't match up. A slower more....well never mind I am NOT a violin/cellist so I will just say it sure sounds extremely difficult to execute compared to guitar or piano.
Now to be fair and put it in perspective, this is what I WANT to hear in terms of intonation:
You willprobably like AW's intonation better. It;s matched to our age, nt Casals 19th century chromatic magnetic ideas. She's a genius, literally. She won the Mac Aurthur Foundation Grant five years ago.
Look at 4:15 and wait for the ascending passage that goes off the fingerboard- it rings but is not pressed to the ebony. The orchestra overpowers it , but on its own an amazing thing. And her opening sequence of chords won't hurt your ears. w
I know the repertoire of the cello and which cellists handle things in conventional and non conventional ways. I have a wide latitude for both. AW is one of the best of the best.
Lot's has been written about Casals intonation and why he did things a certain way, but this boils it into a few paragraphs.
Just for fun, wrap your head around this- Alfred Schinttke composer he was a follower of Shostakovich - tripout. Heinrich Schiff was a total bada$$ cellist.
You willprobably like AW's intonation better. It;s matched to our age, nt Casals 19th century chromatic magnetic ideas. She's a genius, literally. She won the Mac Aurthur Foundation Grant five years ago.
Look at 4:15 and wait for the ascending passage that goes off the fingerboard- it rings but is not pressed to the ebony. The orchestra overpowers it , but on its own an amazing thing. And her opening sequence of chords won't hurt your ears. w
I know the repertoire of the cello and which cellists handle things in conventional and non conventional ways. I have a wide latitude for both. AW is one of the best of the best.
Lot's has been written about Casals intonation and why he did things a certain way, but this boils it into a few paragraphs.
Yes indeed she was pretty much perfect as far as I listened, also her vibrato fits the tempo of the song. I really think it is those flaps on the side of the head more than technique. I never said Casals intonation was weird, rather, by your example his orchestra was off and he himself made some slight, I must believe, acceptable errors here or there. If he deliberately hits some notes flat, that is just dumb IMO. Anyway purple dress girl seems to prove it can be done IMO.
You don't have to look too far forward in history past the Beethoven violin Concerto in D to lock down most jazz players. Just the cadenzas are sufficient:
Hahn, the queen of double and triple stops- Mutter, her sound is closer to the jazz platers envelope of tone, but clear when it needs to be.
Absolute beauty with feats with fingers included- Sibelius Violin concerto
The Bruch, one of the main warhorses of the popular violin works...t takes discipline to play it without turning it to cheese. Extejded chord playing passages.
And these - Britten Cello Suites were written for Rostropovich, here are two recordings both are great,but one has the edges sanded off and is overly smoothed.
or Starker, who is sort of the Anti-Casals the Kodaly Sonata th emost awesome piece no one knows about. Written by Bartok's buddy Kodaly. It's like gypsy violin for the cello.
And then there's the actual Hungarian gypsy violin players but any play out of tune on purpose.
