G.G.: Well, maybe so. Certainly, when you’re making a recording you are left alone. You’re not surrounded by five hundred, five thousand, fifty thousand people who are in a position to say at that moment, " Aha, that’s what he thinks about that work, eh!" But that seems to me a great advantage. Because I think that the ideal way to go about making a performance or a work of art – and I don’t think that they should be different, really – is to assume that when you begin, you don’t quite know what it is about. You only come to know as you proceed. As you get two thirds of the way through the session, you are two thirds of the way along toward a conception. I very rarely know, when I come to the studio, exactly how I am going to do something. I mean, I ‘ll try it in fifteen different ways , and eight of them may work reasonably well, and there may be a possibility that two or three will sound really convincing. But I don’t know at the time of the session what result is finally saying , " That doesn’t work; it isn’t going to go that way; I’ll have to change that completely. " It makes the performer very like the composer, really, because it gives him editorial afterthought, it gives him that power – it’s a different kind of power than you were talking about, certainly, but it’s very real nontheless. Well, obviously, this is something that you cannot do in a concert, if only because you can’t stop, as I always wanted to , and say, " Take two."
A.R.: Well, yes , that is plausible. Recording is a different thing – it is a different affair. But do you do what I do? I make a few, you know, whole takes, and it’s very rare that I want to pick up anything. Sometimes, something happens with one wrong note, and you fix it like a false tooth – you just chip it off and replace it from the other take, you know , so it sounds right. But I like to play the whole thing once I ‘ve started because I cannot bear breaking it up.
G.G.: No, I can bear it because, first of all, I believe in editing. I agree that it’s helpful to make one full take per movement, but I see no particular reason why one couldn’t do something in one hundred and sixty-two different segments and never, in fact, do it straight through. I don’t work that way myself, but I see no reason why one couldn’t.
To be continued…