Well, I don't hate Metallica, I just think that the electric guitar is ill-suited to other music.
Here's an example that I have trouble listening to all the way through, Metallica playing Morricone's Ecstasy of Gold:
When all the notes in an intricate melody are played either loud or louder, they eventually smother each other and sound confused.
Unfortunately, the electronic guitar's chief advance came when Nigel Tufnel discovered eleven on the volume knob.
The electric guitar is good for music meant to be played that way, but not so good for other kinds of music.
"We Will Rock You" wasn't meant for two violins in scordatura:
It's literally good stomp music, not baroque.
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Here's how Morricone originally intended Ecstasy of Gold to sound, along with some marvelous video work by Leone:
Just a masterpiece lurking in a spaghetti Western, with Tuco running faster and faster as he looks for the gold buried under Arch Stanton's cross.
(For cinema buffs, the dog was unscripted and actually startled Eli Wallach.)
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And here's Morricone showing what a composer-conductor of the kind that you originally mentioned can do with that music and a full orchestra, a large chorus, and a great soprano soloist in a red dress:
The wordless singing appeals to me, since I can rarely understand operatic singing.
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Apart from yet another opportunity to re-play music that I enjoy, my point is that it's more fun to use something that I don't particularly like to illustrate things that I do.
Now it's time to slog through some drive imaging for backup. Thank heavens for remote control programs, so I don't have to drive out to distant offices and can entertain myself with idle scribbling like this while playing music this:
Bolling chose "Baroque" on purpose iwhen he wrote "Baroque and Blue" with Rampal in mind.
Incidentally, Vivaldi wrote differently for different instruments. With a violin, you can play as long and fast as your talent allows, but other instruments need rests and other adjustments. If you're a true Vivaldi nerd, your spreadsheet will show that of the dozens of recordings of the Four Seasons, the shortest and fastest version is Rampal on the flute, since the only way to avoid gasping for air in the long passages is either to play too quietly or else to play the notes faster.
