Editing Orchestra (section)

===20th-century orchestra===
At the beginning of the 20th century, symphony orchestras were larger, better funded, and better trained than previously; consequently, composers could compose larger and more ambitious works. The works of [[Gustav Mahler]] were particularly innovative; in his later symphonies, such as the mammoth [[Symphony No. 8 (Mahler)|Symphony No. 8]], Mahler pushes the furthest boundaries of orchestral size, employing large forces. By the late Romantic era, orchestras could support the most enormous forms of symphonic expression, with huge string and brass sections and an expanded range of percussion instruments. With the recording era beginning, the standards of performance were pushed to a new level, because a recorded symphony could be listened to closely and even minor errors in intonation or ensemble, which might not be noticeable in a live performance, could be heard by critics. As recording technologies improved over the 20th and 21st centuries, eventually small errors in a recording could be "fixed" by audio editing or [[overdubbing]]. Some older conductors and composers could remember a time when simply "getting through" the music as well as possible was the standard. Combined with the wider audience made possible by recording, this led to a renewed focus on particular star conductors and on a high standard of orchestral execution.<ref>{{cite book |first=Lance W. |last=Brunner |year=1986 |article=The orchestra and recorded sound |pages=479–532 |editor-first=Joan |editor-last=Peyser |title=The Orchestra: Origins and transformations |place=New York, NY |publisher=Scribner's Sons}}</ref>