Hi, David!
At 01:18 PM 2/21/2005, you wrote:
> > Pre-WWII recordings are, of course, a different matter.
>Why? Please explain this; I'm assuming radically different recording
>technology, but please expand.
The _really_ short version centers (unfortnately) around technology - not
that there were not some fairly inventive (read: "genius") systems
available, but rather that the technology was basically not up to task of
reasonably reproducing "accurately" a given sound. ("Accurately", here,
would have to do with psychoacoustic perceptions, as well as whatever might
be reductively deduced. I'm sure that Sarah F. can speak much more
intelligently about this than I can.) This is not intended to duck the
question, just to open up the frame of reference a bit...in a fairly short
time, recording went from basically acoustic/mechanical to early
electronic; thinking of the number of piano-related patents issues in the
period 1860 - 1875/1880 will help form a frame of reference.
> > My own experience, owning many recordings of Rubenstein done over many
> > years, is that perceived differences between vinyl and CD media (in
> > re-release of vinyl originals) would be exactly that - a matter of
> > perception.
>
>
>Oh, my brother, p-p-p-p-please please PLEASE do a class with your archival
>recordings in Burbank (the California State PTG Conference) next year; I'd
>commit to working with you to get a killer room and sound system, and we
>could then have played some of the same stuff on a killer piano, in the same
>room...oooooh. Damn.
Lots to think about here...
I used to teach a reduced set of this kind of thing as part of a voicing
seminar (some years back). It might be fun to tackle it again. In order
for such a thing to work, yes a killer room and sound system would be
pretty essential. Lining up the right kind of pianist and piano for
demonstration would be pretty cool. (Maybe if Dale's D has not yet found a
good home, he would let us use it...? I know who I would want as a
pianist, if they are available.) I do think that one of the things that
has changed for many people, performers, technicians and teachers alike, is
that so few people actually go and listen to live concerts as compared with
the amount of listening that is done through (largely) pretty appalling
reproducing (one hesitates to say "sound") systems. Timing would be
important. The convention falls at a time of year when it is difficult to
get away.
>Give us the gift of your ears & sensilblities and a lifetime of world-class
>listening, Horace. The craft needs this kind of inspiration, and the class
>would be beyond full.
Truly, you are too kind. I have been incredibly blessed and fortunate to
have been in the right place at the right time for certain kinds of
things. Others have had similar experiences - what is important is that we
find mutually supportive and helpful ways in which to share them...working
with grace and humility for the benefit of all.
>Respect & best wishes,
Which I heartily return!
Horace
>David Andersen
>Malibu, CA
>
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