From: Patent Tactics, George Brock-Nannestad
On 9 June 2005 Karl Miller wrote:
> On Thu, 9 Jun 2005, George Brock-Nannestad wrote:
> > The only sad side effect of such research is that the magic disappears, and
> > in particular if precise goals are set for a good-sounding and selling
> > manner of performance, and if training in conservatories aim for just that
> > by technical feedback.
> For me, the sad point is that this I believe this is already the case. As a
> friend (like myself, an obsessive record collector) said, many years ago, the
> recording has ruined art music. ................
----- yes, I am afraid I was only stating the obvious.
> In an odd way, it seems funny to me that there is such interest in
> resurrecting performances of the past...performances that are likely
> to place the emphasis on humanity over accuracy.
----- I think that is a good sign. We have had a long-running series in the
Danish Radio's "culture" channel comparing for about 2½ hours performances of
certain works, but not telling the panel who the performers are. I would say
that in about 4 cases out of 5 it is an "old" recording that wins the
----- On the other hand, I have an in-house test record from the Gramophone
Co. "Test for horn quality" (or some such title), featuring a grand piano at
full excursion. I recognized it when I listened to it and compared matrix
numbers: yes, it is side 2 of Cortot's famous early electrical recording of
Liszt's Second Hungarian Rhapsody, complete with wrong notes. A lovely,
intensive rendering, much better then the modern Russian ones. This was the
in-house standard for the acoustic tin horn: wrong notes had to be clearly