Nancy
That is indeed, interesting, I thought it was the contrary. I
thought the recordings were made following the concerts, or
occasionally during the concerts. I did not realize, at all, that the
recording was made before the performer began his concerts.
Obviously you are quite right, if it is as you say. I did not look at
the date of the recording, and to tell the truth, although I have a
vivid memory of the performance in Paris, organized by the guitar
society, which impressed me greatly, I do not remember the exact
date, so I don't think I could check this up.
The record did come out after the performance, but it doesn't prove,
at all, that it wasn't made before, as you have suggested. However,
why on earth do record companies function like that?
They must have their logic with escapes me; and indeed, I wonder
whether major recording companies allow performers any real control
over the recording process (whether or not they would like to have any).
Thank you for pointing this out to me, I must insist again, that I
was not criticizing in any way the performance, that impressed me,
and those with me, greatly.
Regards
Anthony
PS Nevertheless, there was an extraordinary research dynamic in those
early Astrée CNRS LP recordings. I wonder how much the French CNRS
insisted on this research element, or how much it came from
performers, musicologists, and sound engineers spontaneously.
I have to say, I am English, living in France, so it is not some sort
of nationalistic feeling, but those seem to have been truly
pioneering days.
Indeed, look at that box set of Dowland LPs made by Oiseau Lyre in
England, at around the same period. I don't want to say that it is
the best recording ever. It is not; but just imagine, five top
performers recording together on the same record set. Is that
possible now?
Ok, I am a little nostalgic, I will admit that. I hope you will
understand.
I suppose anything should be possible with the web, but is it
happening? I wonder
AH
Le 22 août 07 à 20:50, Nancy Carlin a écrit :
> I think there is a spacial communication you get hearing the music
> live that will never be there on the CD. It includes the ability to
> watch the performer's body language and their opportunity to feel the
> communication coming back from the audience. This is the reason many
> musicians love making live recordings.
>
> But, I think the biggest difference is that in the case of Hoppy and
> Dowland (and many other performers) the concert you hear is done
> months and years after that CD was recorded and you are indeed
> hearing a different performance. The more a master plays the music,
> the better it gets.
> Nancy Carlin
>
>
>
>
>
>> What is the input of Hoppy and Nigel North on their recordings? One
>> would hope they are interested, and that they want to control the
>> sound as much as they can. Of course you can't control the volume at
>> the listener's end, and that is one of the key elements in getting
>> the focus of the sound right; but you are right to take it as far as
>> you can.
>>
>> However, Hoppy, now seems to be searching more for a sort of
>> universal musicality (and there is no denying he is musical), which
>> seems to allow him to ignore strings, acoustics, and even possibly,
>> the quality of his lute; almost as though these no longer matter at
>> the particular stage of research he has reached. It was not always
>> so.
>>
>> I was looking this morning, at his De Rippe recording of 1977. He
>> states clearly, in his own signed notes, that the musical language of
>> a period seems to come to life best when you use the specific means
>> available at the time, and thus gut stringing is an essential
>> element, in this, in spite of the problems for the interpret. I
>> translate a little wildly from the French.
>>
>> Now some may not like that record (I do, but it was one of the first
>> gut-strung lute recordings I bought), and perhaps Hoppy has matured
>> beyond this sort of preoccupation. He has every right to determine
>> his priorities, as the sensitive musician he undoubtedly is.
>> Perhaps like a number of musicians before him, he considers only the
>> performance counts (you must be there to hear him, too bad if you are
>> not), and so the recording might be of little, or no import to him.
>> Indeed, the Dowland recording, without his presence, seems but a pale
>> shadow of what I thought I had heard in concert.
>>
>> This may be good. We should not just listen to recordings; and I do
>> not mean to say he does not care, or is self indulgent, in some way.
>> On the contrary, he has almost a quiet "religious" humbleness before
>> the music he is playing, and this is truly extraordinary to watch and
>> hear, but after a month or so, I could not find the same quality
>> coming through the recording. I know you never can find the true
>> presence of a performance on record (especially one that is not
>> recorded live), and perhaps the more a musician's presence is clearly
>> felt in the auditorium, the greater the disappointment, at his
>> absence, when one simply listens to his records.
>>
>> Sorry, I have strayed a little,
>> Best regards
>> Anthony
>>
>>
>>
>>
>>
>>>
>>> David - thanks for the input, it's needed to push me along and to
>>> make me reflect on my own recordings, after all, I have just one
>>> set of ears.
>>>
>>>
>>> ****************************
>>> David van Ooijen
>>> [EMAIL PROTECTED]
>>> www.davidvanooijen.nl
>>> ****************************
>>>
>>>
>>>
>>
>>
>>
>>
>>
>> To get on or off this list see list information at
>> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>>
>
> Nancy Carlin Associates
> P.O. Box 6499
> Concord, CA 94524 USA
> phone 925/686-5800 fax 925/680-2582
> web site - www.nancycarlinassociates.com
> Administrator THE LUTE SOCIETY OF AMERICA
> web site - http://LuteSocietyofAmerica.org
>
> --
>
