I'm rereading Oliver Daniel's "Stokowski." He tells about Stoki's Asia/south
seas trip in the 20s when the conductor studied percussion with Indian
physicist Jagadis Bose and collected instruments. Eichheim's "Bali" stems
from this journey, which Stoki later recorded. Some of those instruments may
have ended up on his famous recording of "Gurrelieder." It was an enduring
interest, as well into the 50s he was playing percussion works by Harrison,
et al, and premiered McPhee's Tabuh-Tabuhan in 1953.

-----Original Message-----
From: Association for Recorded Sound Discussion List
[mailto:[log in to unmask]] On Behalf Of Donald Tait
Sent: Monday, May 05, 2014 8:08 PM
To: [log in to unmask]
Subject: Re: [ARSCLIST] Dora Labbette, Soprano with string quartette: The
Flowers of the Forests, 1925?

  Reiner also studied percussion as a student in Budapest. Including
timpani, which might help explain the added prominence of and occasional
added timpani parts in his CSO recordings (it's harder to tell with his
Pittsburgh and other recordings). I remember talking to Sam Denov, who was
then a retired member of the Chicago Symphony's percussion section. He said
"Reiner was DEATH on percussion." Meaning that he not only heard everything,
which was a given, but that he knew exactly what he wanted and wouldn't
settle until he got it. Sam was speaking from his personal CSO
experience....

  Also, Reiner made piano rolls in 1925 et seq. Four-hand versions in which
he was credited as being one of the two pianists and others in which he was
credited as the "conductor." Philip Hart wrote about it on page 44 of his
biography of Reiner. 

  Don Tait