for me, it anyway, the more normal procedure is that you find your way into the piece. Also, I don't bother to practice until I get there, that's the part of the secret you're saying. (Chuckles)
I do a company time most of the part. Um, and you find your way into the piece, by the time you get to, uh, take seventeen, you're playing rather well quite often, you know. (Chuckles) Um, I just, but only... only slightly.
Um...
- You mean, really that you haven't practiced the piece before you come to the recording?
No, I have, I have, I've certainly played it through, I have thought about it in, in the uh, in terms of, a certain, adopting certain posture towards it.
But right there, if you thinking about an example which, which I think is remain.
Um, it is impossible for me, to call up my producer and say, "today we'll gonna record the Bach suite in la major, which will take 20 minutes. uh... give or take a few seconds."
I can't do that for the simple reason that in my living room, which is a rather large living room 30 feet long, uh... I, nevertheless, play at approximately, 1 quarter to 1 fifth, of, faster than I would do in any, you know, concert halls, such as, as the auditorium we recorded in Toronto.
Uh, for the simple reason that the moment I stepped into such an ambient, it, something says be expansive. You know, feel levels of things you can't hear.
In a living room, with a rug on the floor, and some of the sorts, and right there, there's a difference.
A difference so great that it really influences the, the concept of the piece.
Um, and, and it would be utter folly for me to trying reproduce what I do at home.
If only because I've done everything, so much faster, which makes a problem, because I really often say there's no question that we can get all of that material into one record. And we end up having worst possible side cuts and have this sort of thing or just taking out of work altogether because we can't get it out one record. They haven't get dealing how to make 75-minute record.
-So actually you let the, you let time come in the procedure. Instead of the exceptional moment you have time come.
Yes. Absolutely. Precisely, precisely.
And not only in the sense of elongation, uh, of tempi, but in the much more profound sense of, of interposing itself, between then and now, and hereafter, you know.
And I think that it's really the secret of recording.
