What is new, however,
is the consistent use of these very modern music production technologies of
our time in the classical sector – as this requires an incomparably greater
extent of scientific- technical and artistic know-how. The advantage, on the
one hand, is the possibility to produce work of sheer unlimited compositional
and tonal complexity – whereby the invention and inclusion of Dynamic Space
Stereophony® is undoubtedly of great importance. On the other hand, compositional ideas can be put into concrete terms and musical degrees of difficulty, for which even the best interpreters in the world are no match, can be overcome. |
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But since Karajan
at the latest, digital techniques have been used during recording, in order
to balance any incompetencies the players might have when playing their instruments,
but also the conductor’s incompetencies, by inserting new passages and
digitally editing in the rest – both, entire orchestra passages as well
as individual soloist's passages. The fierce international competition in striving for the highest possible artistic perfection and technical precision, practically forces every orchestra to employ digital technology to produce CD recordings to achieve the highest degree of accuracy for the musical work. However, in classical music so far, only a maximum of 3% of such great digital possibilities which are today internationally available are being utilised. The reason being that today's professionals had and have to do pioneering work to gain their knowledge in this field, and are no longer affordable for such enterprises as orchestra recordings on CD with the required number and range of digital instruments – for the largest item is here not the orchestra and the conductor, but the digital recording team of experts and their complex range of instruments. A general benefit of such modern digital music recording technologies with the aid of sound data banks as well as instruments and programs for digital sound production and processing is that – during recording – each individual element of the composition can be accessed at all time. Here, during the recording of a symphony, a correction can be made at any time to each individual tone – regarding its sound development, its volume changes, its position in the acoustic space, the point in time of its appearance etc. etc. These are all possibilities which every great classical composer has so far only been able to dream of. The reason for Bach to make do with so few voices in his polyphonic work was solely a result of the restrictions which the size of the orchestra as well as the problems of performing more complex work with the orchestra causes – difficulties, due to which the fixed rhythm finally crept into classical orchestra practice, which Richard Wagner then tried to tackle with a completely new kind of use of notation. |
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| From the pioneering times of the Micro Music Laboratories | ||||
Scientific investigations
in the Educational Music Laboratories® have also shown that every
musical instrument needs its own echo situation for its own specific sound,
but also for each musical passage to be realised – that is, its own acoustic
space size, in order to reproduce the passage in such a way that the listener
receives the information the composer has intended for him. This is really quite simple to comprehend even for a layperson. When you perform Händel’s “Messiah” with the rather quick “Hallelujah Chorus” in a large cathedral, the listener can hardly or even not at all differentiate the individual tones in succession, due to the overwhelming echo effect. This means, the musical theme no longer reaches him. And this is even more the case, the further away from the orchestra he is sitting. If the space size of the cathedral could be constantly changed during the performance, such damage would be removed. However, the investigations in the Educational Music Laboratories® have shown that it is worthwhile to take this even further and to give special consideration to the sound of the individual instruments and/or the composition’s different sequences of notes. The listener will know how to appreciate this. As a consequence, such a procedure means the simultaneous application of any number of tonal spaces variable in their size. |
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| With kind permission of AAR EDITION INTERNATIONAL © 1998 – EDUCATIONAL MUSIC LABORATORIES “Education must become verifiable by objective science. It becomes this by the help of modern, scientific-orientated medicine.” |
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