Is it real or is it Memorex®

In the last couple of weeks, we have talked about the ease of recording a concert. But the question comes: “is one willing to accept the recording of a performance?” We are so used to listening to studio recording that are made up from selections from multiple recordings. I had the privilege to listen to a recording session of John Nelson’s orchestra. They played the movement twice completely plus several recordings of specific selections from the movement. This leads to precision that is unavailable in a live performance recording. In addition, if one is recording a live performance of a work, there is always the problem of an audience noises. A cough is almost unavoidable in the recording. While in a live performance, you take it as one of the “things how they are.” However, after second time you listen to a recording you start to expect it and finally, you almost focus on this noise – “is it time for the guy that coughed to get up and leave the audience?” About the fourth time one is about ready, to paraphrase the Mikado, “the coughers, none of them will be missed, no, none of them will be missed”.

A second characteristic of a live performance is the life that seems to be present that isn’t in the studio recording. – for a live recording, one emphasizes not being boring; for a studio recording one emphasizes not making mistakes. I did a CD of a soprano soloist in our church. She had thought to record a performance of a fundraiser, but I prevailed on her to record in advance. She was a very good amateur soloist and most selections I had at least 3 tries. The CD came out very well. I recorded the concert also, and when I gave her the CD, I commented that I was thankful I had the real multiple cuts. While at the time of the performance, I enjoyed it immensely; however, while listening to the recording of the performance; I could hear all sorts of pitch problems that the life of the live performance had concealed from me.

When we listen to a CD, we are less tolerant of extraneous noises and dynamic range problems. In many ways, it reminds me of the problems in photography. For example, you look out and see a beautiful landscape of gorgeous fall trees. The picture is taken, and when you look at, you realize that there are power lines that your eye was able to ignore and see the underlying beauty. Or you see a person under a tree outside and your eye will automatically cancel out the green from the reflected from the trees. Take a picture of someone under a tree and they will look green. Of course, this is far from new; this is what impressionists noticed and how they made light “real.” It seems the mind, will correct the sound and light in real life but not in reproductions.

So, in getting a recording of a live performance, one must look beyond the minor imperfections to the music that is being conveyed. So returning to where we stared about two weeks ago, when one listens to music, either real or recorded, one must go beyond what has been recording and go to what should have been heard.

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Introduction

Before really starting blogging, I should introduce myself so you know where I am “coming from” in my comments.

I was trained as a chemist and received a PhD in that field and then spent about 35-40 years making a living in Chemistry. I have always been interested in music and consider myself a musician, albeit an amateur one. My mother was a very good pianist – of course we didn’t recognize it; we assumed any mother could pick up any piece of music and play it. I studied clarinet through high school; after high school, I spent most of music time in choirs.

The second part of the title is “faith”. I was brought up in the Presbyterian Church and have been a member of Protestant churches ever since. Presently we are members of a theologically and socially liberal church that is part of the United Church of Christ and Christian Church – Disciples of Christ heritage.

The third part is “culture” and I guess I would say I am cultured the same way the yogurt is cultured – not quite spoiled but slightly thickened

I have had no serious training in music theory or in music history. Similarly I have had little formal education in theology so any statements/pronouncements both in music and religion are probably unencumbered by knowledge and possibly rational thought.

I would like to start this blogging gig considering words. I will be expounding on questions such as; What is the role of language? When could/should one change words? Should the original language be used or should the work be in done in translation? Of course, these will be based on my own particular (and possibly peculiar) background and frame of reference. I could say “These views are not necessarily those of Soli Deo Gloria – but they should be” but I am not certain that I believe that.

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