While being more than very much old enough to have completely embraced many of (actually so far all) the great players that feature on the fabulous early recordings that you guys (Tang, the General, Bill, Ked and all similarly collecting) as my experience of them is more dominated originally to mostly vinyl reissues of the 70’s through to 90’s and on a range of remasters, pressings and formats since then.
In my first major relationship in my early twenties our only ever unresolved argument was Brahms Violin Concerto... Heifetz, Oistrakh or Stern... for me it was easily #1 and #2
Certainly if was in the position that I currently was fortunate enough that I had a Vyger or American Sound I’d likely also be in a similar position to be chasing these very same precious records that you are now celebrating.
So without having heard what you guys are clearly hearing (and I don’t at all doubt the magic is completely there) but I’d love to know your thoughts on where the various elements of the magic lies for you.
None of the questions I ask below have any agenda other than a joyous curiousity and an awareness that performance is central to this chase and that no body is buying stampers as soulless audiophile records but rather pure music direct from the masters (double entendres actually meant).
But is it all and only just purely musical performance. If these performances where recorded at a different time say the 70’s 80’s etc do you feel their performances be sitting quite as proud and virtuosic landmarks and so extraordinary as to be hallowed.
Do you see the fact that these icons of classical music also were of an age as to have lived on the trailing edge in the closing moments of the romantic period itself that this also gives them a cultural advantage and an access and authenticity to the true romantic style.
Is it also about the nature of lineage and the training and discipline of the schools and academys and music halls of the late 1800’s and early 1900’s as the romantic period faded before the uptake of the light of the revolution that was the Moderns.
Is the fact that these were among the early recordings and that there was still a braveness and absolute technical aspiration that fed into the pure intention behind these recordings.
Is it about the purity of the approach for both musicians and technicians in a time when there was perhaps an even greater gravitas in both persuasions and perhaps even a different sense of duty and responsibility to an older world notion of celebrity.
Can it be also about the advantage of the medium at this time and it’s simplicity and directness and with its focus of the core of the music being held deeply within the midrange which also absolutely suits the strengths of vinyl, horns and SET.
Is it joyously rose coloured and just absolutely marvellous and truly musical because of that.
Is it other things or is it just plainly that they are simply dominantly amongst the very best performances ever regardless of the sonics.
Would love to know your thoughts if at all possible. I have had many of the greats from these recording in a range of performances as cherished recordings since I was about 15 or so (oh my many many years) and absolutely no issue understanding your deep love of their work. They are among my very favourite classical musical performers of all time as well.
I’ve only been collecting and listening to classical (and jazz) music for about 40 years (hmmm sigh) and have grown to see a sea change in music and found priceless treasures all the way that have also then changed me. Would love to know how these recordings have fuelled your fires and maybe understand how the spirit of music, musician and sound really drive these particular records into the sublime for you.