Stefan Goldmann edits Stravinsky

Every couple of seconds you find yourself in a different room, listening to a different orchestra under a different conductor. A journey through microphone positions and mixdown decisions. Each time a different world in the headphone. Also the different shades of tape hiss in the recordings make it sort of an electroacoustic avant-garde work, as you can follow a floating noise contour throughout the work—probably the clearest evidence of the edit process. It's putting a focus on the subtleties of orchestral interpretation—a field often neglected and widely unknown to the electronic society.... Motivation. The current edit-mania didn't remain unnoticed. Though I feel often edits basically show disrespect and low understanding of the original works and composers' intentions. Edits have too often been an easy way to connect one's name with something without having to go into the depths of remixing or doing anything else useful or creative. I felt the urge to leave the composers intentions as I found them and not to mess with the structure of the composition at all. This has probably never done before in such a complex edit. On the other hand hardly anyone has ever dealt with the in-depth details of classical interpretation, the great Tonmeister-tradition and the "invisible editing" techniques employed in classical music where the utmost goal is to keep engineering inaudible. For me it is about celebrating one of the greatest pieces of music from the 20th century and to promote these aspects to a public that's hardly aware of these aesthetics and its huge influence on the music important to us today. So this is my "minimally invasive" approach to a classic and I believe it's pretty much the opposite of what everybody else has been doing in that direction. I hope this encourages the listener to dig deeper into the art of composition, interpretation and recorded orchestral music.