[ARSCLIST] Long reply on critics' listening (was Re: [ARSCLIST] Plus Deck)

[Mike Richter <mrichter@xxxxxxx>]

Karl Miller wrote:

> You raise a notion which I find to be quite curious. I find it interesting
> how we can mentally edit a recording when we know the music. It seems that
> critics are less critical of sound quality when it comes to historic
> recordings of standard repertoire than those of less familiar repertoire.
> I wonder if knowledge of the music makes it easier to listen beyond the
> limitations of the recording when one knows the repertoire.

All too often, the ear fills in what is expected whether it is present 
or not. I do some reviewing, originally for myself in a file of Opera on 
Video at my WWW site, now for http://www.operajaponica.org/ . On 
occasion, I am asked how I could have missed an obvious fault or I am 
startled on re-hearing to find something out of place. The first time 
through, my mind supplied the right passage when the wrong one was on 
the recording.

I've had confirmation that I'm not unique in that experience. I debated 
with two friends after a performance whether two lines had been reversed 
in a live performance we had heard of an opera. They insisted that the 
aria was delivered superbly - with which I agreed but insisted that the 
bass had transposed the lines. One of my friends had recorded the 
performance. After replaying it, he sent me a copy proving that I had 
heard correctly while they had heard what was intended.

As for older recordings inducing 'wishful hearing' more than newer ones, 
I find that unsurprising. One must listen more intently through reduced 
frequency response, less clarity and greater noise to hear the 
subtleties. Determining that the second contrabassoon missed its entry 
demands concentration which may obviate appreciating the overall sound.

As for the sound quality itself, one is tempted to pass off the 
limitations as the best one can hope for from that era. After all, 
'everyone' knows the Beethoven Fifth so we listen for the overall shape 
and the particular flavor of that conductor in that performance. But we 
may well not know Rubbra's Second at all, hence fight to hear detail and 
wonder whether it is accurate.

Mike
--
mrichter@xxxxxxx
http://www.mrichter.com/