I forgot that Gould had two instructive examples: * Scriabin's Desir. Gould uses (I think) four mics: one inside the piano, one near it, one in the 3rd or 4th

I forgot that Gould had two instructive examples: * Scriabin's Desir. Gould uses (I think) four mics: one inside the piano, one near it, one in the 3rd or 4th row, and one in the back of the hall. He plays the piece, then he gets his engineer to cross-fade among those mics to smoothly change the amount of reverberation for each segment of the piece. * Mozart's Sonatina in C major. Since it was written for beginners, Gould plays it in the style of a beginner. :) I don't think either are successful, but they are brilliant concepts. I wish more classical performers would take risks like that.