On 05/10/2015, Eric Nagamine wrote:
> Thought Tom Fine and others might be interested in the recording
> process for an early LSO recording with Dorati.
>
>
>
> "The most fascinating period for me in the development of the LSO was
> during the Mercury recording sessions. in the summers of the late
> 1950s. Antal Dorati combined intense musical passion and a demand for
> perfection with a very short fuse and a Hungarian waywardness that
> gave him unique qualities. In the space of a few hours, his screaming
> at us, tempered by careful measured criticism from the backstage voice
> of the oh-so-polite Harold Lawrence, the record producer, polished the
> orchestra, turning it into the precision machine that can be heard on
> those records. The Alban Berg op. 6 Three Pieces for Orchestra could
> not have been played at a concert in those days. The recording was
> made in sections of as little as 16 or even 8 bars, with every snippet
> honed to perfection. I remember how my old friend Jay Friedman, of the
> CSO was so impressed by our playing! I could hardly bring myself to
> tell him how it was really done. This kind of note-bashing could
> hardly happen now, in today's LSO, but that kind of training did much
> to lift the orchestra from being just competent to brilliant." Denis
> Wick
>
>
That's fascinating.
Is this part of a longer interview or article ?
Regards
--
Don Cox
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