I've just caught up with David Barker's piece on Strauss's Perpetuum Mobile...
David talks about the difficulties of performing (and recording) recording something that's meant to go on potentially ad infinitum. So I wondered: has any recording borrowed a common technique from pop music, and simply faded out the track? And if not, why not?!
The idea feels 'wrong' somehow: our classical-recording-conditioned minds think things are meant to stop at bar 346 or whatever because that's what composers write. But in pop, a fade-out functions as a petering out, like an elipsis... (😉) or cos the band just don't know how to end the thing!
Either way, it seems to me to be the ideal thing to do on a recording of a piece that theoretically doesn't stop. Say, Satie's Vexations, or any 'perpetuum mobile' piece (such as those listed here).
Has any recording tried it? Any thoughts?
Cheers, Simon
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