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244 Chapter 11 As Valerio Tricoli said, âonce youâve played the note itâs goneâ; as Anna Kaluza put it, âa strange thing about this music and these CDs is that tomorrow theyâre already oldâ;2 and, as Tobias Delius explained: I do find it a bit difficult nowadays that you almost canât go to a gig which is not being filmed or recorded. On the one hand itâs ok, thatâs how it is, thatâs how the time has gone, but I do find itâs also nice that things live only in your memory... and canât be checked out on a photo. Accordingly, and especially in the case of ârealâ improvising, much concert music was intended just for the present, and, unlike most other musics, the text or âworkâ realised in performance was never meant to be repeated, duplicated or to have any kind of life beyond the moment of its creation - this ideology suggesting no obvious reason to record it at all. In addition to this emphasis on the moment, the lack of visual content in audio recordings was also held to be an impediment in recalling the âliveâ experience, and many musicians suggested that the visual was essential for understanding the processual/interactional elements of performance, and that posture, body language and facial expression provided essential information as to musiciansâ âhonestyâ and intent.3 Here I also recall Anna Kaluzaâs description of the Berlin Improvisersâ Orchestra as a âvisual funny thingâ4 and, as one new listener at Ausland commented, with some confusion, âI didnât know whether to look at their facial expressions or what theyâre doing!â. The visual was held to be important in listenersâ location of unfamiliar noise- and sound-based materials (being able to âplaceâ the origins of sounds was thought to clarify interactions as they took place), and, as Burkhard Beins explained: The recording is capturing a certain thing, but it doesnât capture certain phenomenon which were present in the room while doing it. Steve Heather described the problem from the point of view of listening to Improvised Music as a teenager, expressing his confusion at hearing the extended techniques of drummer Paul Lovens on record and having no idea which of the musicians were making which sounds, and by which means: A friend of mine gave me this record of the [Schlippenbach] trio... [and] I 2 Kaluza added, âI always like this music because the way itâs just played, and then itâs gone, is so unpretentious. Thereâs no waste. You just play it and the next day you play it differently - but with all these [recordings] suddenly there is a product and a whole lot of wasteâ. This thought was echoed by Rudi Mahall, who added, of concert situations, that âYouâre just left with a light memory, and the feeling of how it was when you played it... and how it was with the others... a very intimate feeling... That means so much to me.â 3 This is an area worthy of more research in itself, and some of these aspects will be addressed in Nikki Moranâs forthcoming work on improvising duos (see [Moran, 2013] for an abstract relating to a recent conference paper on the matter). 4 See p. 197.