I think this question has came up many times in the past here but I think there is still time to give it an airing so here goes . Do any of you ever dismiss a recording because the recording quality is dire.
I am ashamed to say that I have done in the past and am still doing, case in point is Claudio Arrau's very early stuff say 30s and 40s. I have some of his records which I have put away because the sonics are horrible. One of the ones being a case in point is his 1944 Bach Goldberg Variations which when looked upon subjectively is an interpretation which is most definitely as good as the Glen Gould 1955 one. For a start Arrau's rubato's are not as extreme as Gould's but Arrau is every bit as good a technician as Gould himself and in fact Gould seems to play this version as if he was playing Chopin's etudes ( a bit extreme but I hope you get my drift ). It is not just the monotonous hiss and crackles, and that just gets worse the farther back you go but to me I just cannot countenance any of the bad frequency hills and troughs. The recording quality pre war was not great to put it mildly but it did favour some frequencies far more than others and that is why say you are valiantly listening to some of Beethoven's piano sonatas and every time the pianist hits an F sharp the volume of the piano explodes in your ear with a very significant rise in volume and a very distorted sound also. As I have been talking about Arrau I used to have a copy of the Phillip's series Great pianists of the Twentieth Century, they had what they said was probably Arrau's earliest
recording Balakirev's Islamay. Now through this what I can only say sounds like a continuous blast of white noise and very low level audio I can just discern what I think sounds like a piano being hammered is this torrent of notes. Now this was in 1928 and it was indeed very primitive recording quality. Earlier in the acoustic recording era we had Ferruccio Busoni who went to but down some acetates and he played one or two of his most famous Bach transcriptions and the recording engineer came out and then asked him to play this note harder than the rest and here are a couple of notes you need to play softer. He did try but gave up in disgust. As one of his friends said of that day "how can you record Busoni , it's like bottling an ocean ).
I am ashamed to say that I have done in the past and am still doing, case in point is Claudio Arrau's very early stuff say 30s and 40s. I have some of his records which I have put away because the sonics are horrible. One of the ones being a case in point is his 1944 Bach Goldberg Variations which when looked upon subjectively is an interpretation which is most definitely as good as the Glen Gould 1955 one. For a start Arrau's rubato's are not as extreme as Gould's but Arrau is every bit as good a technician as Gould himself and in fact Gould seems to play this version as if he was playing Chopin's etudes ( a bit extreme but I hope you get my drift ). It is not just the monotonous hiss and crackles, and that just gets worse the farther back you go but to me I just cannot countenance any of the bad frequency hills and troughs. The recording quality pre war was not great to put it mildly but it did favour some frequencies far more than others and that is why say you are valiantly listening to some of Beethoven's piano sonatas and every time the pianist hits an F sharp the volume of the piano explodes in your ear with a very significant rise in volume and a very distorted sound also. As I have been talking about Arrau I used to have a copy of the Phillip's series Great pianists of the Twentieth Century, they had what they said was probably Arrau's earliest
recording Balakirev's Islamay. Now through this what I can only say sounds like a continuous blast of white noise and very low level audio I can just discern what I think sounds like a piano being hammered is this torrent of notes. Now this was in 1928 and it was indeed very primitive recording quality. Earlier in the acoustic recording era we had Ferruccio Busoni who went to but down some acetates and he played one or two of his most famous Bach transcriptions and the recording engineer came out and then asked him to play this note harder than the rest and here are a couple of notes you need to play softer. He did try but gave up in disgust. As one of his friends said of that day "how can you record Busoni , it's like bottling an ocean ).