Originally posted by Goon525
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BaL 2.11.2019/28.3.20 - Bach: Violin Concerto in E BWV 1042
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First impressions, in isolation, on the Debretzeni/JEG... 1041.....
I'm afraid I found myself admiring the orchestra, the general purity of sound & approach, rather more than the soloist, who seemed unimaginative, at times even rather routine, and with a slightly forced tone especially in the outer movements.... and isn't that sublime andante a bit too steady here, not to say plodding...? Responded more positively to the solo within it..... Great fan of JEG, but his accompaniment sounded too predictable in following her..... (he doesn't really do rubato or flexibility much anyway...)
Guess I just craved more song and spontaneity...It might grow one me, but I felt disinclined to progress...I went back to those lovely Telemann Sonatas instead... (playing now....)...Last edited by jayne lee wilson; 17-11-19, 14:41.
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Originally posted by Goon525 View PostHmmm, 'raw' or 'plodding'? If pushed, I did find the bass accompaniment a touch on the wooly side. But I did enjoy the soloist.
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Originally posted by Goon525 View PostThe new JEG was Disc of the week on RR today.
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I'm incandescent with rage about R3's response to BAL in the face of the current measures. Given the technology we have, there is no reason on earth why a reviewer, having agreed some guidelines with the producer, should not write his/her own review and either do it live from home or record it in advance.
The only reason for not doing this is because of the BBC's bloody-minded reaction against our views about twofers.
I'm afraid I swithced off within 20 seconds of the start. I really didn't want to hear the naive and condescending twaddle...AGAIN... about HIPP.
I think R3 listeners know all about the difference between performance practices in 1960 and 2020.
I wonder how Harriet Smith is going to review chamber music from home???
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Originally posted by ardcarp View PostI'm incandescent with rage about R3's response to BAL in the face of the current measures. Given the technology we have, there is no reason on earth why a reviewer, having agreed some guidelines with the producer, should not write his/her own review and either do it live from home or record it in advance.
The only reason for not doing this is because of the BBC's bloody-minded reaction against our views about twofers.
I'm afraid I swithced off within 20 seconds of the start. I really didn't want to hear the naive and condescending twaddle...AGAIN... about HIPP.
I think R3 listeners know all about the difference between performance practices in 1960 and 2020.
I wonder how Harriet Smith is going to review chamber music from home???
I think R3 listeners know all about the difference between performance practices in 1960 and 2020.
Anyway, Ardy, this R3 listener for last 60-odd years didn't have this work in his collection and now has Rachel Podger on her way from Leamington.
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I'm not sure how, but I seem to have missed this one, first time round. Not too happy with the time spent showing how wrong leading musicians got it for much of the 20th Century, but once it got down to the real thing, I found it of some interest. Looks like I may be adding the Podger/Brecon and maybe the Ibragimova to my 'go-to', Cafe Zimmermann.
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Originally posted by mikealdren View PostIn addition, I'm particularly annoyed that they are repeating such recent transmissions that are fresh in the memory. How about some vintage editions that are not also on 'BBC Sounds'.
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