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  This has less to do with recording dates or Arthur Fiedler, but it does 
relate to Karl's post about how, when he issued transfers of Scriabin's rolls of 
his own music, one critic complained about the liberties Scriabin took.

  I recall a critic who reviewed a reissue (perhaps on Odyssey) of Poulenc's 
Columbia LPs of his piano music. The critic complained that Poulenc used "too 
much pedal." As with Scriabin, he wrote it.

  It makes one think that if we had recordings of Mozart, Beethoven, Liszt, 
or Brahms playing their piano music and they didn't follow the score today's 
critic has, he or she might criticize them too.

  There's a big lesson in this on several levels.

  Don Tait