First, yes, most all professional recordings that I know of use multiple sections (not just multiple takes). For a great example of a pro who can clearly play his pieces just fine in one take, see the Ricardo Gallén video of him playing Bach with Norbert Kraft at the console. Kraft is clearly "punching in" to particular sections deep into the prelude to BWV1006 in one section of the video, so recording in sections. But this is still not "cheating." It is an industry standard and it is not just to remove mistakes, but to maintain dynamics or continuity, etc., as the engineer/producer has a better ear for what's being recorded than the player. So, yes, Segovia and Williams and Bream did it this way too.
So, I think along with others here, if you're recording to share your music with others, there is nothing wrong with recording in sections at all. However, I will push back slightly on that notion under one particular circumstance. If you're using recording to practice performance, obviously recording in sections will only be of benefit for the section you're working on—in other words, if it's done prior to your being ready to perform the whole piece. But obviously recording for performance practice you eventually want to be able to play the whole piece in one take, just as you'll have to do in a performance setting. So, I think recording in sections can be a great way of practicing to really nail down particular sections, but once you get ready to bring the piece up to performance-status I think you can set yourself back by doing so (because you're actually practicing the mental attitude of giving yourself another take when facing mistakes)—although it will certainly help tell you *whether* the piece is performance ready or not. The question for me then becomes about how we learn and prepare pieces. Recording is undoubtedly a great tool to have in your practice regimen while preparing a piece, but eventually it has to be set aside—though you definitely can and should come back to it after you have learned the piece in other ways and can play it in a performance setting without the mental illusion that you can have a do-over, thus creating the situation in which mistakes will happen. As I said, Gallén could obviously play Bach's lute suites just fine in a performance setting before he recorded them. In fact, it was his being able to play them so well as a whole that allowed him to play them in sections so dang sublimely—and gave us such a wonderful recording.
"In music I think it's very, very dangerous if you start to compare and say, 'This is good, this is not good, this is only one possibility' . . . there are so many possibilities, but what is important is to be open to that." - Pavel Steidl