LIVE REBORN
Over the years, many recordings of pop and rock music concerts have been made, while recordings of live classical music are comparatively rare, restricted mostly to special concert events or music festivals like Bayreuth or Glyndebourne.
However, a number of people have commented on the fact that quite a few live recordings of classical music are now appearing on CD. Deutsche Grammophon appears to have issued most of them, with some from Philips, London/Decca, and a few other labels.
Although the people I've spoken to seem to be divided on the positive and negative aspects of live classical music recordings, I think I can detect a slight but unmistakable bias against live recordings, as opposed to those made in conventional, dedicated recording sessions.
There are some fascinating philosophical arguments on the subject of music appreciation, whether pop or classical. Few would argue that the ultimate enjoyment of music lies in attending a live concert. However, it is at such an event that the divergent natures of live pop and classical music are most apparent. One of the most emotional aspects of the live concert experience, for example, is the sense of participation. Although there is the aura of uplifting excitement shared by the audience, it must be conceded that the pop audience is more immediately involved. The sense of occasion is greater, the audience's emotional response more unbridled and uninhibited. In addition to purely musical aspects, audiences become involved at pop concerts because of the stimulus of visual elements-flashing strobe and laser displays, multi-colored smoke, and the antics and gyrations of the performers.
It must be noted that between the pop music audience and the musicians onstage is a huge "wall" of audio electronics. Banks of brute-force amplifiers, stacked arrays of high-output loudspeakers, and an elaborate control console to provide equalization and a myriad of special effects all result in music that is totally electronically enhanced. In marked contrast, the audience attending a concert of classical music hears the natural acoustic output of the orchestral instruments and their interaction with the concert hall, period. In certain halls, microphones may be used on vocal soloists or choral groups, but it is usually quite minimal and discreet.
In a sense, devotees of pop music are pre-conditioned to electronic manipulation of their music, whether at a concert or on a recording. The classical music lover, on the other hand, even one equipped with the most elaborate and expensive audio system and state-of-the-art recordings, is acutely aware that what he hears cannot equal the concert hall listening experience.
Which brings us back to the issue of live recordings of classical music concerts. Some feel that concert recordings capture more of the essence of a musical performance. They make the claim of more spontaneity, a more cohesive performance. There certainly is an element of truth in this. But what about the sonic problems which inevitably intrude during live concert recordings? Audience noises--especially coughs--can be irritating, particularly in pianissimo passages. Poor intonation, bad ensemble playing, and the occasional clam from a French horn can all disturb.
On the very first playback, these various problems are of minor import and, in fact, lend an atmosphere of reality.
However, on subsequent listening, the loud cough at the beginning of a slow movement will become an anticipatory cue in your brain and turn into quite an annoyance. (Incidentally, my experience has been that in live concert recordings, European concert audiences are quieter and less prone to coughing than their American counterparts). Considering the present spate of live concert recordings, a closer look is in order. Are the labels producing these releases because they are less expensive than standard recording sessions? To a degree, yes. A symphony of 50 minutes' duration will be recorded in that time span at a concert. In general, this same 50-minute work would require three recording sessions of three hours each. Add transportation to the recording hall (if the orchestra's own hall is not suitable), hall rental fees, sundry charges for recording equipment transport and recording crew, and, finally, the expense of editing the session tapes.
To be fair, the cost difference between live concert and standard recording sessions is usually not the reason why a label decides to make a live recording. Often, the decision is made because one of the label's top conductors is performing with an orchestra which he rarely conducts, or because the music involved is rarely performed, or because the conductor is closely identified with some music he wants to record with a particular orchestra.
Concert recordings of operas are of particular interest to record companies because of problems in scheduling the various stars: Since most of these artists are engaged in performances around the world, arranging for the desired artists to be at a recording session-say, in Vienna in July-can be a logistical nightmare.
Making a concert recording is an undertaking fraught with problems. If the engineers favor multi-mike recording, the forest of microphones usually upsets the orchestra management, who fear this will irritate the audience.
Hanging the mikes would be a good alternative, but it is usually impossible or, at best, quite difficult. The final mike setup will undoubtedly be somewhat less than what the engineers would consider optimal.
Naturally, the problems of hall acoustics must be addressed. It is common knowledge that though certain concert halls provide a superior listening experience for an audience, when empty they are less than suitable for recording. A case in point is Boston Symphony Hall, which gives an audience glorious sound at a reverberation period of 1.8 to 1.9 S. When empty, the hall has a reverb period of 2.3 to 2.4 S and can be a bit tricky in recording. On the other hand, consider Orchestra Hall in Chicago. After its modification in 1965, the hall became very dry acoustically. In recent years, record companies have expediently covered the seats with plywood panels and vinyl sheeting to bring the reverb period up to a usable 1.4 S. Obviously, this technique cannot be used when the hall is filled with people. Since the audience absorbs sound and makes the hall fairly dry, engineers would have to add digital reverb to a concert recorded there, in order to provide ambience and spaciousness.
I must say that quite a few of the live classical recordings I have heard lately are really quite good. Considering the difficulties, the recording engineers have coped very well. Even the audiences have been blissfully quiet! It is worth remembering that the superior musical and sonic aspects of recordings made in the dedicated session tradition are due to the miracle of tape editing. If the players don't start a passage together, if intonation is poor, if there are various clinkers, or if someone drops a mallet or a mute, all this can be neatly excised electronically.
When I was music director at RCA Victor Red Seal, I was sitting in a studio with the late Artur Rubinstein, listening to the playback of some edited tapes of Chopin mazurkas that the great pianist had recorded. Rubinstein turned to me and quipped, "You know, I wish I could play as well as that fellow." That says it all.
(adapted from Audio magazine, Feb. 1990; Bert Whyte)
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