Heh heh, it does if I sit far - I get bored. I generally sit close enough that venue ambiance isn't an issue. Just recently I attended a performance of a cellist and violinist in a living room of an older mansion in Boston. The sound was so amazing - obviously you're hearing some room sound, but not like the typical recordings.
What are you currently listening to (Classical)?
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Heh heh, it does if I sit far - I get bored. I generally sit close enough that venue ambiance isn't an issue. Just recently I attended a performance of a cellist and violinist in a living room of an older mansion in Boston. The sound was so amazing - obviously you're hearing some room sound, but not like the typical recordings.
To my ears, a closely mic'd instrument in a dry acoustic is fatiguing to listen to. Of course, if it's reverberant to the point of obscuring details, then that's no good, either! I think that Bach recording strikes a great balance between presence/details and some room sound.
Sonata and Partita No.1. Fantastic playing and sound, but the mics are close enough to pick up a lot of breath sounds.
Great to know...am literally just finishing up work for the evening with this music.
Listening to this on my home system now (as opposed to at work yesterday). Wow, the breathing is VERY audible and distracting, but performance and sound is good. This is not excessive reverb - you are correct.
It's bad enough on my system, which is revealing enough, but it must be nearly intolerable on yours! On the one hand, I suppose breathing (or humming in Fazil Say's case) adds some sense of an actual human playing, but on the other it's extremely distracting at times!
I listened to disc 1 today. Very good performances (unedited) and the sound is very clear and life-like, if a little too dry for my taste. At least they used analog gear! (I'm sure the dryness will appeal to a certain member here.) 
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I listened to disc 1 today. Very good performances (unedited) and the sound is very clear and life-life, if a little too dry for my taste. At least they used analog gear! (I'm sure the dryness will appeal to a certain member here.)
Ooooh, did someone say 'dry'???? Ahh yes, Yarlung. Now THEY know how to record.
Hahahaha hell yeah!
I like classical as well, specially the big, bombastic stuff... I guess it's kinda similar to prog, isn't it?
And even in the prog stuff, I'm a sucker for albums with lots of violin and flute, so the classical connection is kinda there too...
I like classical as well, specially the big, bombastic stuff... I guess it's kinda similar to prog, isn't it?
And even in the prog stuff, I'm a sucker for albums with lots of violin and flute, so the classical connection is kinda there too...
Two very different but equally stunning works this morning--
L. van Beethoven: Symphony No. 2 in D major, Op. 36
Stefan Wolpe: Piece for Oboe, Cello, Percussion and Piano (1955)
Peter Veale, oboe, Beverley Ellis, cello, Pascal Pons, percussion, Sven Thomas Kiebler, piano, James Avery, conductor
L. van Beethoven: Symphony No. 2 in D major, Op. 36
Stefan Wolpe: Piece for Oboe, Cello, Percussion and Piano (1955)
Peter Veale, oboe, Beverley Ellis, cello, Pascal Pons, percussion, Sven Thomas Kiebler, piano, James Avery, conductor
A tale of two Goldbergs! I bought Lifschitz's at his concert Thursday, then Esfahani's arrived the next day. From his concert, I knew what to expect from Lifschitz: a probing mind, technique that allowed him to bring out all sorts of hidden voices, and warmly expressive playing. I was not disappointed! I then turned to Esfahani's and nearly ejected it after a few measures! "What the hell is he doing" I asked since he omitted the ornaments and messed with the rhythm of the opening Aria. Then the repeat came, and all was well: ornaments were happily played and rhythms restored. He went on to play a quite convincing version. Both are very well recorded, but I vastly prefer the dynamic and tonal possibilities of a modern grand piano.
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