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In Reply to: RE: Sorry, but I disagree. If you cannot play a piece the way you want it, you posted by tinear on November 11, 2011 at 07:45:48
And not just for classical music. Elvis was famous for demanding numerous takes before accepting something that could be released on record.The great Hungarian pianist Annie Fischer recorded the complete Beethoven piano sonatas one section, and sometimes a few bars, at a time, not moving on until she had something she was satisfied with. She wasn't even done with the editing when she died, but fortunately her great and famous set was released anyway. As a flute player, I can tell you that Jean-Pierre Rampal was well known by insiders to do very heavily edited records, most of which are still regarded as definitive. He was great live, too. Richter disliked the recording studio and most of his large discography is from live recitals. However, most of his repertoire was recorded repeatedly so one can pick and choose among various versions.
IMHO, a mediocre musician will never produce a great recording, no matter how much editing is done. Editing is needed in part because slight imperfections that do not harm and can even enhance a live performance become irritating when heard over and over in exactly the same places. Of course, some live recordings are so outstanding and/or historic that one lives with the imperfections.
[Ed. - And IMO the above applies to jazz as much as any other genre.]
Edits: 11/11/11Follow Ups:
I like the idea of unedited, but it's just not a realistic expectation most of the time. Even some of the most highly regarded classic jazz recordings have obvious cuts and edits in them. Certain errors or problems in an otherwise great performance have the potential to become cloying when listened to over and over, and artists have to be sensitive to that. So they are.
dh
As I posted in another thread (I think it was last year), if you can't play the piece, then no amount of editing is going to make it sound as if you can.
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