One problem is that a lot of EM recordings are not done in a studio. They are done in churches or what have you, which are not acoustically isolated and are subject to things like traffic noise. I've got a copy of a performing version of a Baltimore Consort piece which has "Traffic" penciled in towards the end. It was a note (by Ronn, I think) to splice in another take there, because of traffic noise.
Guy -----Original Message----- From: [email protected] [mailto:[email protected]] On Behalf Of [email protected] Sent: Monday, October 12, 2009 11:04 AM To: [email protected]; [email protected]; [email protected] Subject: [LUTE] Re: The End of the Golden Age Hi Chris, Thanks for bearing with my lack of experience listening to recent EM recordings. I'm intigued by what you say and will be doing more listening. I think that the high cost of getting an orchestra into a studio for recording has resulted in a good thing for later repetoire - more recordings done live. Of course there is still editing, but if the recording is made from only two or three performances, it is necessarily limited. EM being done by smaller ensembles, I guess that the studio is still the main recording venue. And perhaps, as you say, the editing is overdone and leads to sterile performances. (Of course, this 'over' use of editing predates digital, witness Glenn Gould's recordings - which I still find thrilling). There is, too, the problem that many of us don't have the opportunity to hear much EM live. For us - other than our own playing - recordings are our only reference for what the music sounds like. You - and other professional performers - are not under that disadvantage. Ned -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
