Word: majority
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Dates: during 1990-1999
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...Steve was having credibilityproblems. If Steve was so quick to call bandssell-outs (and even quicker to call themuntalented hacks), what the hell was he doingproducing albums for a bunch of major labelmonstrosities? Steve's answer--that sinceengineering's not an art, he's not prostitutinghimself, but rather extorting major labels withoutgiving a damn about the quality of the music hehappens to be recording--is relatively reasonable,but he's still intuitively branded a sell-out bymany. His position is somewhat undercut by hisdistinctive "engineering" style, which is perhapsthe most influential Albini legacy. Steve tries tomake it sound like...
...Galway's concerts is the introduction he makes before each piece he performs. These are usually humorous bits giving a brief history of the work. Examples include the tale of the Emperor and flute addict Frederick the Great and his teacher Quantz, which introduced the Bach Sonata in E major for Flute and Basso Continuo, (BWV 1035) and the dangerous nature of dancing in the baroque period, which introduced Couperin's La Pie'montoise. According to Galway, one wrong movement of the finger could cause a person to literally lose his or her head. These comic lectures, intended to make...
...first piece was a light and airy G Major Sonata by Bach (BWV 1039) for two flutes and basso continuo, including all the players except for Huggett and with Jeanne Galway on the golden flute that is a trademark of her husband. The playing was excellent all around, with the Galways flawlessly performing a passage that requires technical perfection if it is to be successful, creating an elegant echo effect. Cunningham and Moll were solid backup players, neither too loud and intrusive nor too quiet and listless. Except for a few fluffy notes on one of the flutes...
Huggett took center stage for the next work, the Sonata in D Major for Violin and Basso Continuo by Jean-Marie Leclair, which she performed with Cunningham and Moll. Huggett and Cunningham have performed together as part of a chamber group, the Trio Sonnerie, and it showed in the lively interplay between the two musicians. Huggett's clear, sharp playing was a marvel, and both Cunningham and Moll, who provided a solid background to Huggett's soaring violin, ably supported...
...last two pieces brought Galway back onto the stage, his brassy, clear sounds bringing the volume back up again after Marais' Suite. The Bach Sonata in E major was purely a Galway showcase, the other players fading in the background for once as he overwhelmed them with his flawless playing. The Telemann Quartet in D Minor, however, brought the whole group on stage for the finale, and all contributed to the success of the performance of that work. Huggett and Jeanne Galway, especially, shone in this work, Huggett's playing so clear and light that she almost sounded like...