Karl Miller wrote:
> I am also reminded of doing side joins on 78s where conductors had to stop
> mid movement...some times one take will work better with another, but yet, and
> maybe it is just me and knowing how things were done, but a broadcast
> performance, recorded on 16 inch lacquers, seems to be more
> convincing...not just the spontaneity of it, but somehow it seems to be a
> question of continuity...even when one considers how masterful those
> musicians were at keeping tempi right from one side to the next. For
> myself, one those rare occasions I had the opportunity to
> conduct...stopping (say in rehearsal) is a bit like being interrupted when
> you are about to say something in an argument. The part after the interruption
> never comes out exactly the say as it would if you had been allowed to
> continue your thought without the interruption.
> Since many of you have done plenty of editing...I wonder what your
> thoughts might be.
Some conductors were wonderful at side breaks, for some reason..Artur Rodzinski's for
example, with only one exception, after side 2 of the Tchaikovsky 5th..there was a
break of about 3 weeks between recording sessions and the pickup was done at a
substantially different tempo. Then there's Koussevitzky's Bolero, with side 3
containing 6 minutes' worth of music played in just over 4.