I think that, in general terms, a concert tour of a recording artist (in whatever domain) is a marketing tool aimed at selling recordings. Why the tour in this case should have come between the recording and the release does, indeed, seem mysterious.
----- Original Message ----- From: "Anthony Hind" <[EMAIL PROTECTED]> To: "Nancy Carlin" <[EMAIL PROTECTED]>; <[email protected]>; "LGS-Europe" <[EMAIL PROTECTED]> Sent: Wednesday, August 22, 2007 10:16 PM Subject: [LUTE] Rép : [LUTE] Vallet with a stutter > 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 >> >> -- >> > > > > >
