Post by Chris June 1, 2013 (11 of 50)
|
|
Fluttertongue said:
Robert, I am delighted to hear that thankfully you made it through your operation unscathed!
On your opinion about Sharon Bezaly recording I would have to say that this recording by Katherine Bryan is really in a different league! Katherine possesses a technique and musical ability that is simply beyond all pears. Katherine brings an amazing sense of performance to everything she plays. It is so alive and diverse in colour and shape. Furthermore the Martin is a revelation to me. To hear it in this version is such a joy. An all round exciting and stunning recording. I'm sure her career will continue to go from strength to strength. A true world class performer.
Jeremy.
Imho it is very good yes, but she is far too closely recorded and again imho,she doesn't have quite the refined breathing technique I hear from Bezaly in the recordings I have by her.
On the other hand I too am sure she is beyond all pears. I have never heard a pear play any instrument.
|
|
|
|
|
|
Indeed she is better than many a pear! Sorry about that. Perhaps if you had heard them both live as I have, you would have a different opinion! I actually enjoy the closeness of recording as it gives a more realistic performance. I think you will find that many a recording trick has been employed on the Bezaly recording! Great piece though!
|
|
|
Post by hiredfox June 1, 2013 (13 of 50)
|
|
|
|
|
|
|
|
|
Thanks hiredfox, very interesting.
|
|
|
Post by wehecht June 1, 2013 (15 of 50)
|
|
Fluttertongue said:
I think you will find that many a recording trick has been employed on the Bezaly recording!
If you have actual knowledge that demonstrates the truth of your assertion you ought to share it. Otherwise this is pure calumny and ought to be retracted.
|
|
|
Post by Chris June 2, 2013 (16 of 50)
|
|
Fluttertongue said:
Indeed she is better than many a pear! Sorry about that. Perhaps if you had heard them both live as I have, you would have a different opinion! I actually enjoy the closeness of recording as it gives a more realistic performance. I think you will find that many a recording trick has been employed on the Bezaly recording! Great piece though!
Good to hear that you weren't offended.Being a non native speaker myself I am sure I make lots of funny mistakes too.
One of the funniest recently apart from yours,was made by Bissie when he not quite correctly translated a Swedish proverb into English.
Back on topic again,I find the balancing between soloist and orchestra unnatural and a bit disturbing.There are passages where the flute sounds superimposed ie pasted onto and over the orchestra in a way you would never hear live.
And her clearly audible intake of breath,even in the solo piece Syrinx robs the performance a bit of the hauntingly beautiful effect this piece normally has on me.
I have a very special connection to that piece and have heard it live and very close up many times.
I do agree with you though,that it is still a very good release despite my criticism.
|
|
|
Post by bissie June 2, 2013 (17 of 50)
|
|
Fluttertongue said:
Indeed she is better than many a pear! Sorry about that. Perhaps if you had heard them both live as I have, you would have a different opinion! I actually enjoy the closeness of recording as it gives a more realistic performance. I think you will find that many a recording trick has been employed on the Bezaly recording! Great piece though!
Wehecht came before me, but I have to say anyway that I take umbrage for a sentence like that. It is perfectly OK to prefer whomever you like, but it is NOT OK to try to smear the "opposition" in an underhanded way like that. If by "many a recording trick" you mean that she actually played every part of the piece more than once, and that we have employed editing, yes, OK, but nothing else. (Actually, that's not true, since we often employed the first take.) What you hear is what was played and anything else is a direct insult to the integrity of both the player(s) and the recording team. You see, I happened to be there. Were you?
(edit): if you are referring to a suspicion on your part that Bezaly has prolonged the phrases by editing around breathing pauses, you're wrong. She employs circular breathing and by that method (sadly not used by Bryan), she is able to keep the long lines and phrases rather than having to chop them up. That alone makes the piece totally different. Having said that, Bryan does have a lovely tone, actually one of the very few I have heard that (almost) can stand a comparison with Bezaly's. However, you should compare the expression, the raw feeling, in this the most expressive of flute concertos.
And, yes, Bryan's cover photo is better.
Robert
|
|
|
Post by diw July 6, 2013 (18 of 50)
|
|
On the previous Bryan Linn flute concerto disc, John's review indicated he did not love the sound. Anyone want to comment on the recording here vs. that one?
For me, given the choice, I would pick to closely miked over a distant recording, but this is something to be judged on a case by case basis...
|
|
|
Post by bissie July 6, 2013 (19 of 50)
|
|
I actually think that fluttertongue should come up with some info sustaining the allegation he/she made earlier about recording tricks (post 12 above). Or were you just shooting off your mouth? If so, an apology would be appreciated.
Robert
|
|
|
Post by wehecht July 16, 2013 (20 of 50)
|
|
It's taken some time but I've finally been able to listen to both Bryan and Bezaly (BIS CD-1799) several times through in the Rouse concerto. One can't help but be struck immediately by the different sound pictures. As indicated above the Bryan disc is much more closely recorded (true whether in stereo or mc), not offensively so, but sufficiently to emphasize the impression of a much more assertive and overtly virtuosic performance. The result is somewhat paradoxical. Bezaly is about 10% faster in the central Elegia (the emotional crux of the work) and the final Amhran, both slow movements, and yet conveys a much greater sense of the tenderness that's essential to the piece (I very much understand Robert's attachment to this recording). Let me be clear, I'm not saying this is entirely the result of a more distant recording, but rather that each recording supports its soloist's essential vision of the work. I prefer a more distant perspective, and the greater emotional depth I hear in Bezaly's performance, but fortunately I can have and enjoy them both. Rouse's concerto is well worth investing in different interpretations. For those who, like me, have only been familiar with him from his crash and bang throw every piece of percussion into the mix works, it's a revelation.
Of course the couplings are completely different, Bezaly's far more adventuresome, but both very worthwhile performances of fine pieces. We must regret, of course, that Bezaly's disc (actually a compilation derived from 4 previous BIS releases) is rbcd only, but if you're not completely allergic to the medium it's a great listen, as is Ms Bryan's in it's different way.
|
|
