Love-Hounds-request@EDDIE.MIT.EDU.UUCP (04/06/87)
Really-From: Dave Hsu <hsu@eneevax.umd.edu> >Really-From: IED0DXM%UCLAMVS.BITNET@wiscvm.wisc.edu >... >Her vocal ends, and is succeeded by a predictable >unison chorus of monumental seaminess that could not >be more out of context with Kate's >contribution than a volley of cannon-shot. I thought I'd just point out that to me, "out of context" conjures up images of an army of British musicians singing while wandering through a swamp in New Jersey populated by multihued statues of cherubs piddling into the muck. Or maybe waltzing through a John Hughes film :-) In any case, the "volley of cannon-shot" seems slightly misplaced. I've occasionally likened the effect of Kate's work (beyond mere listening!) to that of heavy ballistics relentlessly pounding craters into one's soul. Of course, this analogy falls short when you consider how miniscule the impact of a real cannon volley is when compared to, say, the lingering remnants of her voice, backwards and layered, trapped by listening-room decay during those empty sections between tracks. No contest. And as promised, your FREE BONUS RESPONSE even if it is a bit misplaced: >Serkin's 1968/69-ish recording of the 2nd concerto with Szell and >the Cleveland is far and away the most powerful, explosive and >terrifying version on disk. The climax of the first movement has >never been done as well before or since; although Fleischer and >Furtwangler did an amazing live recording in Berlin during WWII >with terrible technique and tons of German coughing from the audience, >but unbelievable conviction. Having just heard the digital remix of Serkin's 1968 No. 1, I look forward to hearing No. 2. But a set of caveats here: Peter Serkin has also been releasing Brahms Concerti in relatively unembellished but only marginally less passionate interpretations than his father. And, as they represented my first exposure to said works, I'll always be partial to the Leon Fleisher/Szell/Cleveland recordings (~1964?). >Instead, Kate is thrown into a mire of yUcKy contemporary pap ^^^^^ an attempt At stUdlY CapS? i thOuGht we 'kiN hAd A PaTenT on thE prOCeSS... One Year Ago Today: |>oug goes into a deep blue funk over having missed Kate's live performances at Comic Relief, the primary obstacle being the Atlantic Ocean. In retrospect, we see that it was clearly an early test to determine if her music was "a sound that could kill someone from a distance". It almost works. -dave -- David "bd" Hsu Professional Undergrad & System Fascist ARPA: hsu@eneevax.umd.edu UUCP: [seismo,allegra]!mimsy!eneevax!hsu USNAIL: EE Computer Facility, Maryversity of Uniland, College Park, MD 20742