The Devil (and The Salvation) Is In The Details

Film Music Institute > Film Music Magazine (Archives) > Chart Doctor (Archive) > The Devil (and The Salvation) Is In The Details

Consider the following scenario: Beethoven (the composer, not the dog) walks into the recording studio and drops his score and parts onto the incredulous librarian’s lap and proceeds to the corner where the conductor is standing. The buzz in the room rises as the parts are passed out, revealing that they are to record a movement from a Tenth Symphony that was not even known to exist. Herr Beethoven shakes the conductor’s hand. The conductor’s hand shakes on its own as he steps onto the podium. The engineer slates the track, and off they go. By the end of 3 hours, despite the wizardry of these industry stalwarts and much discussion, only a small portion of the movement has been perfected and recorded. Beethoven grabs his score and the parts and storms out of the building, never to be seen again. Despite the best recollections of all involved, no one could fully recreate the score and the priceless treasure was lost forever.

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