
In the first instalment of this feature, the issue of authenticity in a listening experience was raised in relation to historical recordings that document musics of the past for the first time. But what about subsequent recordings of those works? Are they less authentic when other musicians than those on the originals tackle them? Or do they stand a better chance of being truer to form if those participating in the remakes had played them when they were brand new? The items under review here are responses to these queries. The first recording belongs to a well-known category, the Reunion…