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It's not me. It's Norman Lebrecht! Full article here... https://thecritic.co.uk/a-worthy-heiress-to-princess-ida/ Some trenchant competition criticism, too. Sure to ruffle Carl Stross's plummage, eh? lulz. More praise for Ida, a diss on Kuschnir and the new Russian school. I rather like Hahn and Sophie-Mutter though. Or is he just yearning for the old days? And any number of LA/OC Audiophile active members can tell you that analog does sound different than most digital. That's another can of worms. I think it usually depends on how recorded and processed. WHY DO VIOLINISTS NOW SOUND THE SAME? By Norman Lebrecht On September 3, 2020 From my monthly essay in The Critic: …The loss of character hit me one summer’s day in the 1990s when an ephemeral star was making an arse of himself in a German studio, insisting that analogue recording was “purer” than digital. At close of play, I hit a bar with the audio team and was halfway down a wheat-beer when the Mendelssohn concerto came over the sound system. We tried guess-the-soloist. Not Heifetz, Milstein, Ida, Oistrakh. Not x, y or z, the recent Gramophone covers. Not anyone else we recognised. Who, then? I asked to see the CD cover. To our horror, the player was the same overrated soloist whose vanities we had endured all day long, his sound as insipid as instant coffee. The kaleidoscopic art of violin playing had lost its flavour, like chewing-gum, in the pop song, on the bedpost overnight.
