While I have been listening to "classical" music for thirty odd years, I still am not bold enough to state that one performance is better than another, unless, of course, one is supremely good and the other supremely bad. I must confess that I do look to record reviews in various magazines for what I still consider to be a more enlightened and broader viewpoint than mine. I can't afford multiple purchases of the same piece just for the sake of comparing and I would get bored with such comparisons, as I am normally bored by comparing equipment and tweaks. My purchases are not solely based on what I read, but often enough. The salient point in Bishopwill's posts, to me at least, is that, somehow, emotion or more emotion can be wrought from a piece of music by dint of the fact it is being reproduced by a tweaked-up, mega audiophile system. As I have mentioned before, I can be moved to tears by something playing on my kitchen radio, and bored to death by audiophile level recordings on incredible systems. The performance is the thing, the system can only enhance it, but it certainly does not start with the system. The local French audio press has also remarked on occasion that the bulk of musicians in l'Orchestre symphonique de Montréal have some of the worst equipment imaginable. I can't corroborate any of this, as I don't frequent any of these people, for no obvious reason. I do frequent some local blues men though, and I remember how stunned I was when a drummer who, after dinner at my house, said without hesitation that he just hated people who listened to their stereo so loud. I was just playing it at what I consider realistic level for electric blues. Elmore James, Muddy Waters et al played LOUD. My conclusion, a lot of musicians simply see recorded music as a very distant experience from the real thing and couldn't care less if the gap is closed. They listen to the music itself, often enough to technical aspects or simply the feel of the piece, both of which come through to the knowledgeable listener on the worst of equipment. Krell wasn't around when Robert Johnson performed; I can still be moved by his music. There has to be a good compromise between the "performance" aspect and the "reproduction" aspect. I, for one, have been very consistent in my favouring the "performance" side of the spectrum. The majority on this site seems to be so heavy on the music system side of things, I wonder where they find the time to actually listen to music. Dif'rent strokes...
What are we listening to...for...with?
As a long time audio enthusiast and former professional musician (double reeds) I'm interested in hearing opinions on a couple of related observations.
First obbo: A few years ago I had the privilege of visiting with the principal conductor of one of the major US symphonies--one of the biggest of the biggies. I was doubly blessed that among the guests was the music director of another orchestra in the same league. Between them, these guys probably account for a hundred or more recordings. I found my host relaxing by listening to his home equipment--an Aiwa all-in-one-box system that sounded to me like a miniature car crusher hard at work. When I questioned him, his offhand reply was, "Oh, I know what it is supposed to sound like." I pressed further: "So then are you listening for performance practice or interpretation or what?" "Nah," he replied, "I'm just enjoying the music." At which point the other internationally famous conductor chimed in to say that his home system was 30 year old HH Scott....
Second obbo: A few nights ago, I went to a friend's for an evening of listening. His system is primarily Krell electronics and a pair of Vienna Mahlers. Among other things, we heard the Slatkin/St. Louis/Telarc recording of the Vaughn Williams Fantasia on a Theme of Tallis, Barber Adagio for Strings, etc. Conversation ranged over several topics including Telarc engineering, "Krell sound," cables (what else?), and the suitability of the Mahlers for orchestral music. Finally I said, "Isn't anybody bothered by the crappy playing and conducting on this disc?" Blank looks all around. Finally, one friend, an oratorio singer, ventured, "Well, the strings WERE a bit out of tune on the Barber." Out of tune? They sounded like cats screwing on a tin roof! Slatkin failed to totally realize Grainger's luscious harmonies on the Tune from County Derry, and the playing throughout was tentative, almost hesitant.
My question for you folks: Are these observations two sides of a common coin? Do some of us listen only to the sound and others only to the music? Are these common phenomena? What's going on?
First obbo: A few years ago I had the privilege of visiting with the principal conductor of one of the major US symphonies--one of the biggest of the biggies. I was doubly blessed that among the guests was the music director of another orchestra in the same league. Between them, these guys probably account for a hundred or more recordings. I found my host relaxing by listening to his home equipment--an Aiwa all-in-one-box system that sounded to me like a miniature car crusher hard at work. When I questioned him, his offhand reply was, "Oh, I know what it is supposed to sound like." I pressed further: "So then are you listening for performance practice or interpretation or what?" "Nah," he replied, "I'm just enjoying the music." At which point the other internationally famous conductor chimed in to say that his home system was 30 year old HH Scott....
Second obbo: A few nights ago, I went to a friend's for an evening of listening. His system is primarily Krell electronics and a pair of Vienna Mahlers. Among other things, we heard the Slatkin/St. Louis/Telarc recording of the Vaughn Williams Fantasia on a Theme of Tallis, Barber Adagio for Strings, etc. Conversation ranged over several topics including Telarc engineering, "Krell sound," cables (what else?), and the suitability of the Mahlers for orchestral music. Finally I said, "Isn't anybody bothered by the crappy playing and conducting on this disc?" Blank looks all around. Finally, one friend, an oratorio singer, ventured, "Well, the strings WERE a bit out of tune on the Barber." Out of tune? They sounded like cats screwing on a tin roof! Slatkin failed to totally realize Grainger's luscious harmonies on the Tune from County Derry, and the playing throughout was tentative, almost hesitant.
My question for you folks: Are these observations two sides of a common coin? Do some of us listen only to the sound and others only to the music? Are these common phenomena? What's going on?