Just returned from another concert at our North Norfolk Festival, The Navarra String Quartet (S.Q.), playing Mozart S.Q. in E Flat Maj, Bartok S.Q. No. 3, and Beethoven S.Q. in G.
This has rapidly become one of the very favourite S.Q. concerts we've been to, possibly classical concerts full stop. Only heightened by the fact that it was the debut concert for the two new violinists in the group.
There was a rare mix of technique and emotion on display, topped off by amazing sonics (we were sitting in 5th row, 25' back).
The cello played was a 1698 Grancino made in Milan. It sounded fantastic!
The Beethoven piece in particular was played at a totally exalted level, with some amazing rhythmic and timing changes, to add real drama to the fantastic melodies on offer.
We have enjoyed all the other concerts we've attended, but the sheer joy allied to technique and the novelty of half this quartet being new, plus the fantastic sound quality experienced, made tonight super special.
Again, the mental extrapolation to the home sound, and what I feel we should be aspiring to, is interesting. Pinpoint imaging, sledgehammer bass, blackest blacks etc, are all redundant objectives.
But fleshed out textures, super dense tone, lightning dynamics...these are the comparisons.
I'm actually happier than ever that my sound has come a long way in beginning to tick the right boxes.
Previously my classical was murky with no real transparency or dynamics, and my jazz suffered poor bass articulation and timbral accuracy.
By pushing my changes to gain a much clearer soundstage with better depth cues, transparency to tone density and timbral accuracy, my sound has transformed on hundreds of albums that were only borderline natural sounding in the past.
My PETs/custom Cosywool corner bass traps acoustics fit out has really helped lift a whole layer of haze in my sound, truly lifting performance in the areas that most needed it.
And experiences like today are truly ecstatic in their own right, and providing great comparators for what I'm needing and achieving at home.
This has rapidly become one of the very favourite S.Q. concerts we've been to, possibly classical concerts full stop. Only heightened by the fact that it was the debut concert for the two new violinists in the group.
There was a rare mix of technique and emotion on display, topped off by amazing sonics (we were sitting in 5th row, 25' back).
The cello played was a 1698 Grancino made in Milan. It sounded fantastic!
The Beethoven piece in particular was played at a totally exalted level, with some amazing rhythmic and timing changes, to add real drama to the fantastic melodies on offer.
We have enjoyed all the other concerts we've attended, but the sheer joy allied to technique and the novelty of half this quartet being new, plus the fantastic sound quality experienced, made tonight super special.
Again, the mental extrapolation to the home sound, and what I feel we should be aspiring to, is interesting. Pinpoint imaging, sledgehammer bass, blackest blacks etc, are all redundant objectives.
But fleshed out textures, super dense tone, lightning dynamics...these are the comparisons.
I'm actually happier than ever that my sound has come a long way in beginning to tick the right boxes.
Previously my classical was murky with no real transparency or dynamics, and my jazz suffered poor bass articulation and timbral accuracy.
By pushing my changes to gain a much clearer soundstage with better depth cues, transparency to tone density and timbral accuracy, my sound has transformed on hundreds of albums that were only borderline natural sounding in the past.
My PETs/custom Cosywool corner bass traps acoustics fit out has really helped lift a whole layer of haze in my sound, truly lifting performance in the areas that most needed it.
And experiences like today are truly ecstatic in their own right, and providing great comparators for what I'm needing and achieving at home.
