Thank you, Roehre, some fascinating data to absorb from your comments. I viewed the programme again this afternoon and did wonder why a four year musical journey was condensed to a 90 mins documentary as I became preoccupied by the ratio of outakes in the editing and what may have been lost even before the rough- cut stage. Incidentally, I thought he was particularly illuminating about his interpretative role in the 4th PC and warmed to his comments about the value of the dreamy opening but must return to my DVD copy as I got the impression that he did instance the stormy opening of the 5th! I learnt so much about the character of playing for a chamber orchestra and the flexibilty needed to adjust and adapt to working with, say, Maestro Dudamel and a full orchestra. I'm sure that the opportunity for a 3-6 part series has been needlessly missed, damn it, but the dedication and humanity of a first rate artist shone throughout.
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I stumbled across this but was so taken with his extraordinary playing that I surprised myself in finding it completely engaging.
Contrary to what others have said I thought his technique was fantastic, precise and wonderfully phased and not at all heavy.
Even considering buying his recordings.
Well worth listening to IMVComment
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This was the impression he gave at the Proms earlier in the year. It was an unmissable experience. I have not read the negative comments, but I can't imagine what problems people could find with his playing. He came over as a warm, friendly and thoughtful man too.Originally posted by MrGongGong View PostComment
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Indeed, I was so engaged by a second viewing yesterday afternoon, I made a rare decision and did a further DVD transfer overnight of the three documentaries. I am a non-musician but became engrossed by the wealth of information, at so many levels, in Concerto, that I need the security of a spare copy just in case...
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I enjoyed the programme very much too, and impressed by his playing. A strange technical thing on my PVR recording though:If playback audio level was set for normal listening every time there was music that wasn't under dialogue it rose to an extremely loud level. If comfortable level was set for the music then the dialogue was virtually inaudable. Anyone else experience this problem? i am an audio engineer and i don't have anything fancy like 5:1 or surround. No other programmes recorded that day exhibited that effect.Comment
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I found myself adjusting the volume level more than usual. I wondered if it was due to Concerto being made initially for cinema screening, so having settings appropriate for sophisticated speaker systems. (This could be irrelevant, of course.) The leaflets being handed out at the Proms only mentioned the cinema screenings, so I was surprised to see it on television. I did wonder if the BBC was not cooperating with it: no advertising in Proms programmes, just leaflets distributed outside. Also, perhaps significantly, no Proms footage was used in the film (LOA was bearded by then), except for the backstage scene after the last Prom. Does anyone have the background to the making of the film?Originally posted by Lordgeous View PostComment
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I got so fed-up I just switched off after some 20 minutes.Originally posted by Roehre View PostMy life, each morning when I dress, is four and twenty hours less. (J Richardson)Comment
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We saw LOA in recital a few years back, with main memory of the concert being an absolutely riveting Schubert D.959. At the time he gave an interview in which he said he rarely played Beethoven but was starting to explore the Concertos with an eye towards performing them.Comment
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The listing of LOA's travel schedule in the end titles of his musical journey was awe inspiring. Otherwise, I'm glad to say that I was too involved in the narrative and the flexibility demanded of him at different venues to even notice any fluctuations in the volume, although I did stop to admire the skilful interpolations of Beethoven quotations throughout.Comment
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The way his musical illustrations moved from his studio to a concert performance was very impressive. Something which, in other hands, might have become gimmicky, was a very useful device for making his musical points.Originally posted by Stanley Stewart View PostComment
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I don't think too many people have criticised LOA's playing or technique. Certainly not me!Contrary to what others have said I thought his technique was fantastic, precise and wonderfully phased and not at all heavy.
On the subject of 4 years being represented by 90 minutes, it's inevitable that the editor would have to leave a lot on the metaphorical cutting-room floor. And his/her final version would have to appeal to a wide-ish viewership. On the whole I think the balance between performance, scholarship and biography was probably about right, even if personally I would have preferred more playing.Comment
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When I switched on the recording of this broadcast, I had this was going to be an example of a Channel 4 style incompetent shaky camera production, but after the initial scare, things improved, and my only real reservation was the use of Beethoven as background music.Comment
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