On 06/04/06, Steven Smolian wrote:
> I think this concept of tempi suitable to the hall is made clear by
> considering the need for organists, say, to adjust the tempo of the
> Widor Toccata to the acoustical environment so the middle voices don't
> become muddlevoices.
> On the other extreme, I've yet to discover a way to rationalize
> Toscanini's tempo for the Entrance of the Meistersingers in his live
> recording, which is taken at trot tempo.
Do you mean the 1937 Salzburg performance, or a different one?
> I'm also convinced that Mahler's reorchestrations were made for
> specific halls. I betcha those for the Concertgebouw differ from those
> made for other locations. That would make an interesting study.
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