What are those standards, and who decides them? As far as I can tell from decades of reading music criticism, there are no "professional standards'.But that's not the point. He sets himself up as a music critic and broadcaster. As such, he must achieve certain professional standards.
It's a fact. The reality is that everyone who participates on TC and comments about music or performances is functioning as a critic. The only difference between us and a professional critic is that the latter is paid for his or her opinions.If there are no professional standards, then anyone can be a music critic. Perhaps that's what we're witnessing.
I agree about the interpretation, but it's hard to say much about balances and clarity on such a sonically limited live recording.But balances, intonation, clarity - aren't these aspects very good in Furtwänglers 1942 Ninth?
I just heard it, its a very good interpretation.
I listened to the beginning of the video. He's not saying that some of them aren't excellent - he's saying that some of them are knee-jerk recommendations that shouldn't be, or that the oft-repeated praise of them is largely received wisdom. I've heard most of the recordings that he references, and I agree. They may be performances worth hearing and admiring, but they are hardly the "be all and end all" that some claim.I'm not sure what is meant by overrated. Does it mean that they have been rated too many times?
I can see from the list that they are all excellent recordings, arguably the best out there. How do you even overrate excellence?
Sure, but you might have just left this where I posted it. My intention was to add to the Brahms Violin Concerto thread, not to give you another soapbox on which to preach your anti-Hurwitz screeds. Were you afraid that someone on TC might not see your opinion?Forgive me for rehashing this. Rarely before today's video has Hurwitz so nakedly made my points for me.
As the "someone" in question, I must correct you. I posted the video on the Brahms Violin Concerto thread. You then posted it here to give yourself another opportunity to rant about Hurwitz.Someone posted a video here,
So if he agrees with you, it's something of value. If not, it isn't. Got it.and I replied with an honest assessment of what I heard. Tellingly, he addressed two of my points in his follow up video. So don't tell me I was being repetitive. Obviously I was saying something of value if he responded to the same points!
I like reading Fogel's reviews - they're well written, and obviously the product of a great deal of experience, but I sometimes find him too willing to forgive flaws in recordings by his favorites, like Horenstein and Asahina (as well as he who must not be named), and far too willing to heap praise on the historic reissues from the Pristine company. But in general, he also admits his biases up front.Yup!! I used to like reading Roger Dettmer and Mortimer Frank..if they liked it, I probably would, too...at least worth a listen...Henry Fogel is pretty good, too...not always, but pretty close..
The Penguin guide is hardly a reliable source of music criticism, particularly since this particular review must be 20 years old by now (not to mention the biases of the Penguin reviewers). Since then, there have been no shortage of reissues and new recordings of the quartets that demonstrate that it's possible to play with both precision and heart.I was reading a Penguin Guide review of the Lindsay Beethoven Quartets yesterday:
“The sense of spontaneity brings the obverse quality: these performances are not as precise as those in the finest rival sets; but there are few Beethoven quartet recordings that so convincingly bring out the humanity of the writing, its power to communicate.”
Thanks for the reminder.I completely disagree with Hurwitz’s musical philosophy and in particular his diatribes against people who recognize that there is more to music than just the nuts and bolts.
This whole thread is a symptom of the times in which we live (particularly in the USA, alas), where everyone and everything has to be viewed as utteerly perfect or irredeemably bad. Too many people are incapable of nuance.You know that just because he doesn’t think every Furtwangler performance is god tier doesn’t mean that he is ‘soulless’?
There's a bit here:Usually, Wikipedia or other Internet sources can provide detailed info about important artists. But I can find almost no DETAILED info about Martzy; specifically about her experience with the Nazi's and Jewish ethnicity. Is a more complete biography of hers included somewhere not on the internet?