That could prove to be interesting.
I know there are some in this world who believe that if you can't do a certain thing, you don't have the right to be critical of those who can, but personally, I think there is a fine line there.
Sorry if I'm potentially going to cause trouble here Mark as I'm aware from other posts that you're a fan of J-BR, but I'm afraid that I currently have difficulty listening to his Alain performances, and I have listened to quite a few already in order to give the benefit of doubt, and not make any ill-informed judgements.
There is no way that I'm going to be critical of his technique at as it's plain to anyone with ears and eyes that his technique is as faultless as it is enviable. But it's his interpretation with which I disagree. Furthermore, I find it hard to reconcile that someone who studied with Marie-Claire Alain can interpret her brother's works the way he does. I feel that I may make this statement with a reasonable amount of hindsight having spoken personally and privately with Madame Alain some years ago on the very matter of JA's works. Also, at the subsequent workshops directed by M-CA on the interpretation of her brother's music, Robin's current interpretations are quite at odds with what I and the other performers experienced that week.
I'm all for something new and fresh, and indeed, Robin's interpretations of many works to date (not just Alain) are certainly new and in the case of some pieces (again, not just Alain), quite fresh. However, if in some instances it flies too far from tried, tested and accepted interpretations, then sometimes, one is left wanting. One of the last performances of J-B R's that I heard was of Alain's
Trois Danses. I have had a strong emotional attachment to these works for a long time (once again, due to my meeting with M-CA and the following workshops). The J-BR performance that I've heard I actually found disappointing and annoying. It sounded as though he had a bus to catch. Many notes and phrases were rushed to the point of almost ignoring them completely - it was simply FAR TOO fast, and the strong emotional impact and intent of both the sombre theme of
Deuils, and the brutal barrage of chords concluding
Luttes were all but lost.
No, I'll never be professionally in the same league as J-BR, but I don't make these sorts of statements without some sort of knowledge and expertise. I'm not the sort of internet pillock who flies in all guns blazing, slating something just because I don't like the sound of it. I prefer making informed opinions so I can look at least mildly intelligent :grin:
Perhaps it's because I have placed something of a personal and emotional investment in these works, that I will tend to ... oh I don't know, feel as though I'm defending them ?? That probably sounds a bit pompous, but I don't mean it to be.
If in the end it's all just a matter of interpretation, then it's all just a matter of interpretation and as always, artists will agree to disagree.
I will also await with interest - but perhaps also with a little trepidation, Jean-Baptiste Robin's new recording. However, I fully intend to listen with an open mind, and I hope to hear "what he means" if that makes sense.
With every good wish, and no disrespect toward your tastes intended.
Matt