See the music - French style


I have said before that classical music should add visual slam. This installation titled Deux Chevaux Karnaval Hippies by Gerold Platzer is in the Galerie Marianne, Argelès sur Mer, where the post is being uploaded from. More on seeing the music here.

Also on Facebook and Twitter. Photos (c) On An Overgrown Path 2012. Report broken links, missing images and errors to - overgrownpath at hotmail dot co dot uk

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Four great albums that are victims of clickbait correctness

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Clickbait correctness - if ain't clickable, don't hype it on social media - means some great albums are not receiving the attention they deserve. My recent rewarding listening has included the new Alice Coltrane release Kirtan: Turiya Sings . Kirtans are sacred Vedic chants, and  Turiya Sings  was originally released exclusively on cassette in 1982 for the students of Alice Coltrane's ashram at the The Vedantic Center, northwest of Los Angeles. For this cassette release synthesizers, strings, and sound effects were added to Alice Coltrane’s voice and organ. Although this mix was never commercially released, it achieved cult status as a bootleg recording. The reason for the absence of a commercial release remains unclear, but the most plausible explanation is that the complete master tapes were not retained, making quality remastering impossible. But in 2004 Ravi Coltrane , who is Alice’s son by John Coltrane and producer of this new release, discovered tapes of just Ali
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On that sleeve for his 1985 recording of the Goldberg Variations , Scott Ross is seen standing in the grounds of Château d'Assas in Languedoc. It was here that many of his great recordings were made. Then, as today, the château dwelt in the twilight zone between grandeur and dereliction, and thirty years ago the recording sessions were regularly interrupted by the sound of rats scurrying across the floor. Scott Ross was born in Pittsburgh in 1951, and moved to France with his mother following the death of his father in 1964. He studied at the conservatoires in Nice and Paris, and first came to Château d'Assas in 1969 to give music lessons to the grandson of its owner Mme. Simone Demangel . When an early music academy was established at the château, the harpsichordist gave masterclasses and became a frequent visitor. At first he stayed in a room in one of the towers, but from 1983 he rented a small house across the road from the château. The photos below were taken by me on a
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Bruno Walter's 1938 Vienna Philharmonic interpretation of Mahler's Ninth Symphony still has the power to move and enlighten, despite the technical limitations of the recording. Similarly Wilhelm Furtwängler's Berlin Philharmonic concert recording from 1949 of Bruckner's Eighth Symphony still reminds us that beauty is more powerful than hatred, again despite considerable technical limitations. Today, blowing 866 million euro on a not quite acoustically perfect concert hall is the go-to solution for saving classical music, which means a celebrity conductor can  throw his batons out of the pram  when he is not rewarded with a blinged-out new hall. So why, given these contemporary priorities, can great recordings from the past touch us so deeply when heard through the technology equivalent of a tin shed concert hall?  The answer lies in the little-understood but vitally important process of listening . There is no such thing as perfect sound , or historic sound, or bad
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