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Big Ass 36, Big Dick 43, Big Tits 81, Bisexual Male 4, Blonde 54, Blowjob 42, Bondage 7, Brazilian British 3, Brunette 73, Bukkake 2, Cartoon 1, Casting hantai, Celebrity 1, Closed Captions Key 2, Compilation 11, Cosplay 1, Creampie 15, Cuckold 1, Cumshot 28, Czech 3, Described Video Double Penetration 7, Com 16, Euro 10, Exclusive 19, Feet 3, Female Orgasm 3, Fetish 25, Fingering 1, Fisting 1, French 1, Funny com, Gangbang 6, German 3, Handjob 8, Hardcore 79, Hentai 2, Indian 2, Interactive Interracial 18, Italian 1, Japanese 15, Korean natural granny Latina 12, Lesbian 25, Massage 4, Masturbation 36, Mature 9, Before answering that question, I should relate the one skepticism I've had of Hantai's music making since he first entered the world of recordings.
From my perspective, Hantai doesn't like to get his hands dirty. He's a positive thesamjam who finds the underside of human emotions and the angst of existence far from his comfort zone. On the plus side, Hantai is usually a very fluid key with a consistently winning notion of rhythmic flair. Therefore, upbeat music tends to play into his strengths, although he surprisingly disappoints in this area now and then as discussed below.
These are the reasons I can not recommend this new set of Bach performances with any enthusiasm: The Prelude in C minor doesn't pass muster at all, because hantai upper voice is much too recessed and even disappears under the weight of the stern and growling lower voices. This represents a huge problem of balance that I place at the steps of the engineers who seem to have forgotten that for voice interplay to be effective, each voice must be heard and needs some space.
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Then there's the Prelude in the key of C sharp minor which Hantai works at giving a major key personality. Listen to Wilson, Leonhardt, or any other number of performances, and you'll hear some incisive negativity encompassing regret and inner turmoil.
Hantai wants none grenma sex that business. He takes the weight off the music through quick speed and glancing infections, sounding as if he's simply breezing along in the park. Given that the music is in C sharp minor and the greatest artists play the piece for its deep emotional longing, I have to conclude that Hantai is on the wrong track with his reading that doesn't touch me in the least.
Overall, Hantai simply doesn't dig deeply into the minor key pieces. Of course, there are a few exceptions, highlighted on Disc 1 by his reading of the Fugue in F minor that concludes the first disc.
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For whatever reason, this time he delves into the heart of the music's severity. By doing so, those rays of light that Bach eventually conveys are all the more stunning and wonderful.
Unfortunately, Hantai excellently contrasts darkness and light infrequently. The severity hantai Bach's music increases as the work progresses, but Hantai doesn't take us along for the ride.
The first motif of the Fugue in G sharp minor has a strength and desperation to it that is spellbinding, and Bach's com of it keeps upping these traits. Wilson is sharp and penetrating, conveying emotional dread; Hantai's a pussycat in comparison. key
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Another problem involves Hantai's use of hesitations. This type of expression has the potential to enhance poignancy, and there's even the possibility of changing the music's flow in a compelling manner.
Hantai does none of this, his hesitations sounding arbitrary or greatly damaging the musical flow such as in the Prelude in A flat major. Key to Glen Wilson's version com the A flat major and you'll hear unbridled joy; he drives forward enthusiastically with hantai on the music's high-spirited nature while Hantai seems overly concerned with his hesitations and structural changes.
This studied approach really won't do for one of Bach's most upbeat creations. I also am not very impressed with the sound engineering.