Actually, your thesis is skewed here. There are two applicable possibilitied. First, a conductor can edit at will during a performance, but more likely the process is collaborative. Soloists in concertos regularly edit their parts, simplifying and "cheating". The second application, which removes your "live performance" rubric, would be to tranfer a performance to a recording studio. There notes, phrases and entire sections are rerecorded and edited. In the days of the 78 RPM record lareg sections were cut out to make the recordings fit the medium.
In each of these cases the process is collaborative. A filmic application is still applied in the area of film score recordings were various cues are left out either because they male the recording to long, or aren't bankable.
Cheers,
Gregg
Sent on the TELUS Mobility network with BlackBerry
-----Original Message-----
From: bill harris <[log in to unmask]>
Date: Sun, 27 Jan 2008 12:50:31
To:[log in to unmask]
Subject: Re: Actors and Directors
Dynamics, indeed... but entire lines?
----- Original Message -----
From: Nina Costanza <mailto:[log in to unmask]>
To: [log in to unmask] <mailto:[log in to unmask]>
Sent: Sunday, January 27, 2008 12:01 PM
Subject: Re: Actors and Directors
In a message dated 1/27/2008 11:50:59 A.M. Eastern Standard Time, [log in to unmask] <mailto:[log in to unmask]> writes: Yet for cinema, the simple functions of editing and reshoot, however, =
make this analogy false: Toscannini could not have edited out parts of =
Horowitz that he found not to his liking.
Actually - conductors and performers do edit both actual changes in the music and in dynamics, Toscannini included.
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