The Scottish Chamber Orchestra, with Sharon Robinson (cello) and Jaime Laredo (conductor / violin), play Dvorák, Saint-Saëns and Mendelssohn's Scottish Symphony.
Live from Younger Hall, St. Andrews, Scotland
19.30 Radio 3, Wednesday 16th October, 2013
Dvorák: Romance
Saint-Saëns: The Muse and the Poet
Dvorák: Silent Woods
Mendelssohn: Symphony No 3 Scottish
I post this thread mainly to ask a question.
I found the sound of the fine Scottish group as relayed from the Younger Hall in St Andrews to be over-immediate, lacking in ambience, and with individual instruments not blending but sounding isolated in their own sound-frames.
I’m wondering...
Was that a function of:
I listened to the second half and found Dvorak’s Silent Woods lacked poetry and beauty and I felt that Sharon Robinson sounded uncomfortably dry and close. Nothing was being “air-brushed" by the Hall, so that minute warts in her playing obtruded and spoiled my enjoyment. Mendelssohn's Scottish Symphony came across adequately but its slow introduction failed to grip, partly I felt because of the lack of warmth in the acoustic- it was too matter of fact. Later, faster passages sounded better- but that was to be expected given what I felt were acoustic issues.
I’d be interested in the thoughts of other listeners.
Live from Younger Hall, St. Andrews, Scotland
19.30 Radio 3, Wednesday 16th October, 2013
Dvorák: Romance
Saint-Saëns: The Muse and the Poet
Dvorák: Silent Woods
Mendelssohn: Symphony No 3 Scottish
I post this thread mainly to ask a question.
I found the sound of the fine Scottish group as relayed from the Younger Hall in St Andrews to be over-immediate, lacking in ambience, and with individual instruments not blending but sounding isolated in their own sound-frames.
I’m wondering...
Was that a function of:
- My equipment (I tried two sets – both sounded unusually dry);
- The SCO (usually, an integrated, smooth-sounding band);
- The BBC’s microphony / transmission
- The acoustics of the Younger Hall (I understand it holds about 1000 people and is about 90 years old) ?
I listened to the second half and found Dvorak’s Silent Woods lacked poetry and beauty and I felt that Sharon Robinson sounded uncomfortably dry and close. Nothing was being “air-brushed" by the Hall, so that minute warts in her playing obtruded and spoiled my enjoyment. Mendelssohn's Scottish Symphony came across adequately but its slow introduction failed to grip, partly I felt because of the lack of warmth in the acoustic- it was too matter of fact. Later, faster passages sounded better- but that was to be expected given what I felt were acoustic issues.
I’d be interested in the thoughts of other listeners.
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