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tpter1 · 03-29-2005, 10:22 AM

My answer is going to be I don't think that's ENTIRELY possible. Each of us has our own unique sound which is influenced by many factors: some physical, some environmental, some preferential, and some due to training. Each of us is also unique in our approach to any given marking. Example: "rit. poco a poco". Slow down little by little. That is pretty non-specific, and open to interpretation. Much of that interpretaion comes from the context of the piece, but some is open to the player/conductor based on what they feel sounds good. (This could go on for quite some time, but I think you can see my point of view).

I think that we are definitely recording-driven. That is, I think many players (and quite a few conductors, I would guess) get locked into a specific recording, and hold that recording as a standrard in terms of sound, blend, tempi, style, etc. We get so fixed on that idea that anything else sounds wrong.

One of my first experiences with taking notice of this came when I heard CSO's reorded Mahler 5 with Solti for London. I had been listening to the Bavarian Radio Symphony (on cassette tape; now lost, and I can't remember the conductor). There is a point in the 4th movement, I think it is, where the low brass sounds like Mahler is sobbing. I could even picture a man with his face in his hands, and the sobs wracking his body (with the Bavarian). Not so with Solti. It is faster. The first time I heard Solti's recording, I thought he was doing it all wrong. No disrespect to the great Maestro, but I was so used to the Bavarian recording, that his tempi just seemed wrong to me. The same thing happens with Beethoven 9. I am very used to the Berlin recording with Karajan that others just seem wrong. The legatos Karajan gets in the slow movement are simply amazing; the blend and timbral quality out of the orchestra under him is just magnificent. But other groups will produce things differently. I am sure MO plays Beethoven 9 in a different way, even more so under different conductors, yes Manny? As does NY or any other group. Again, due to personal factors of conductors and players and the marriage of those factors.

I think the danger of recorded music is just that, and would sooner think that recordings are to blame (maybe why John Cage was quoted as never owning a stereo?) for more standardized interpretation than increased communication or more open global marketplace.

Sorry for such a long-winded post; it's a question which demands long-winded answers. Very interesting topic!

03-29-2005, 10:22 AM	#2 (permalink)
tpter1 Forte User Join Date: Jan 2005 Location: Northern New York Posts: 2,309	My answer is going to be I don't think that's ENTIRELY possible. Each of us has our own unique sound which is influenced by many factors: some physical, some environmental, some preferential, and some due to training. Each of us is also unique in our approach to any given marking. Example: "rit. poco a poco". Slow down little by little. That is pretty non-specific, and open to interpretation. Much of that interpretaion comes from the context of the piece, but some is open to the player/conductor based on what they feel sounds good. (This could go on for quite some time, but I think you can see my point of view). I think that we are definitely recording-driven. That is, I think many players (and quite a few conductors, I would guess) get locked into a specific recording, and hold that recording as a standrard in terms of sound, blend, tempi, style, etc. We get so fixed on that idea that anything else sounds wrong. One of my first experiences with taking notice of this came when I heard CSO's reorded Mahler 5 with Solti for London. I had been listening to the Bavarian Radio Symphony (on cassette tape; now lost, and I can't remember the conductor). There is a point in the 4th movement, I think it is, where the low brass sounds like Mahler is sobbing. I could even picture a man with his face in his hands, and the sobs wracking his body (with the Bavarian). Not so with Solti. It is faster. The first time I heard Solti's recording, I thought he was doing it all wrong. No disrespect to the great Maestro, but I was so used to the Bavarian recording, that his tempi just seemed wrong to me. The same thing happens with Beethoven 9. I am very used to the Berlin recording with Karajan that others just seem wrong. The legatos Karajan gets in the slow movement are simply amazing; the blend and timbral quality out of the orchestra under him is just magnificent. But other groups will produce things differently. I am sure MO plays Beethoven 9 in a different way, even more so under different conductors, yes Manny? As does NY or any other group. Again, due to personal factors of conductors and players and the marriage of those factors. I think the danger of recorded music is just that, and would sooner think that recordings are to blame (maybe why John Cage was quoted as never owning a stereo?) for more standardized interpretation than increased communication or more open global marketplace. Sorry for such a long-winded post; it's a question which demands long-winded answers. Very interesting topic!