AHRC Online Conference

Classical Music Hyper Production and Practice As Research

ambience on recordings

Ambience has been a powerful interpretive tool in recorded presentations of musical texts. Many of Arturo Toscanini's recordings, even those done at about the same time RCA made excellent early stereo tapes in Chicago and Boston, still puzzle listeners with their dryness. We know that Toscanini emphasized textural clarity above all else, and after ...
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A useful thought exercise, because it gets at the issue of layers of representation and meaning in recordings of acoustically generated music, is to consider what reverberation is. Is it the representation or signature of a room within which the performance occurs, necessary for authenticity and comfort? Or is it time(/frequency) and space smearing...
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The Aesthetics of Recording Classical Music

​Thanks all for your very interesting observations so far. I will comment to individual threads, but could I start the ball rolling here with the questions we will be discussing in the panel session on production on Saturday? I would really like to get the conversation started and see what the people who can't attend in person think about all this....
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a few reflections on recording, modernity and modernism

In seeking contributions, Simon asked that contributors should reflect on 'the sound-worlds used in recorded classical music and how these relate to ideas of modernity, authenticity, commerciality, pedagogy and the musical 'text' both in the traditional repertoire and in the composition and performance of new music'.Thinking about this in the light...
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This is a post intended for the discussion unfolding in Musicology that overlaps issues in Performance and Production. With respect to recording, I think it's important to factor in the audience, not just the ways in which concepts of audio fidelity are constructed on the side of musicians, producers and audio engineers. My point is, however artifi...
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Illusion or Reality in Classical Recording

Recording engineers discover quickly in their studio work that what a microphone 'hears' is quite different from what is captured by our own hearing system. As a result we often must use more than two microphones to realize a classical performance in an audio recording -- even when our goal is to recreate a realistic soundscape of the original perf...
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Alfred Brendel

Martha de Francisco just posted a link on Facebook to this interview with Alfred Brendel where he talks a little about recording to promote a new box set of his Phillips recordings. One of the interesting things he says is the benefit of digital recording being that the edits are done during the session and are therefore part of the performance pro...
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