Without getting too deeply into one conductor vs another, I think it
essential that we look back to how the music was originally performed to
best understand how it infused the rest of the music of its time.
Recordings, tempered by an understanding of the background of those
performing on them, can help. After all, true rhythm is seldom accurately
reflected in music notation.
In addition, much is taken for granted. Has anyone seen sheet music for
rock that has a hard accent over the second beat?
----- Original Message -----
From: "Roger and Allison Kulp" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Wednesday, March 29, 2006 9:24 AM
Subject: Re: [ARSCLIST] The waltz (was Which U.S. orchestra recorded first
and Arthur Fiedler)
>I like Clemens Krauss.
> Steven Smolian <[log in to unmask]> wrote: Victor Herbert makes a couple
> of appearances in Part 2 of the article.
> I consider the Herbert's Fledermaus such an important document that I
> ventured to compare it with other performances with the implied or actual
> imprimatur of the Strauss family tradition. It's not part of the article
> but gives the Herbert reading extra weight in a tradition yet to truly
> its way from the dance floor into symphonic movements in three written
> contemporaneously with the Viennese waltz craze, especially Brahms.
> Steve Smolian
> ----- Original Message -----
> From: "Don Tait"
> Sent: Monday, March 27, 2006 6:03 PM
> Subject: [ARSCLIST] The waltz (was Which U.S. orchestra recorded first and
> Arthur Fiedler)
>> Mike Richter wrote that Steve Smolian had written that "Stock" claimed
>> had spent time in Vienna learning how to perform the waltz, but had
>> Does that mean Frederick Stock? And where did Steve write that? I don't
>> recall it from the CRC article that was the topic of discussion, but I
>> have re-read it to make sure before writing this.
>> That said, I must say that Stock's CSO recordings of Strauss lead me to
>> agree with Steve. Both the acoustical and electrical ones.
>> Don Tait
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