Let's read Bryan Townsend's criticism on Eliot Fisk's live performance of Paganini's "Caprice No.24" and Britten's "Nocturnal".
- he is beating the guitar to death which is why he is having to adjust the tuning every few measures
- another sign of the excessive pounding on the instrument is the awful tone: nasty, naily and percussive
- his tempos are faster than he is capable of executing cleanly, which is why so many notes are barely heard and so many rhythms are distorted
- this piece is perfect for players who are mindless technical machines as it is pretty much pure virtuosity, so for Eliot it is a good choice, but he simply cannot play it cleanly, so the end result is just bad
This is playing so bad that it is painful and, for me at least, unlistenable. I would not be willingly present at a recital by Eliot Fisk.
The Britten is a rather different situation. This is the musical opposite of the Paganini and requires the greatest sensitivity of musicianship. For the first, slow section, Eliot almost has us convinced he has given up his bad old ways. But no, as soon as the next, fast, section begins, the raucous brutality returns and the sheer sloppiness, missed notes, bad tone and lack of musicality makes it also unlistenable.
http://themusicsalon.blogspot.com/2015/ ... -fisk.html