I sent this a couple of hours ago. I was sure I had checked the  address to 
make sure it was going to the entire ARSC list (I always do), but now  I 
see that "Reply" sent it just to Dave. So here's the message again.  Sorry.
  Don Tait
 From: [log in to unmask]
To: [log in to unmask]
Sent: 5/7/2014  2:50:56 P.M. Central Daylight Time
Subj: Re: [ARSCLIST] Stokowski and  percussion instruments

There is an off-the-air recording of Beecham conducting Bruckner's  Seventh 
Symphony with the Royal Philharmonic after World War II. Unfortunately  
it's incomplete. But much of the symphony is there and the performance is  
  Beecham conducted a Mahler symphony -- number Four, I think -- in  one of 
his first London concerts. Around 1907. But Mahler's music apparently  
didn't appeal to him. 
  Beecham did have formal training in music, especially at the  school to 
which he was sent, Rossall. In his biography of Beecham, Alan  Jefferson 
wrote that the young Beecham astonished the school's music master,  Dr. 
Sweeting, with his ability to play any Beethoven piano sonata at  sight.
  In the opera house Beecham conducted works by a wide range of  composers. 
He was an enthusiastic champion of the music of Richard Strauss,  and his 
performances of Elektra were particularly famous. 
  Don Tait
In a message dated 5/6/2014 9:25:07 P.M. Central Daylight Time,  
[log in to unmask] writes:

My  original comment which started this thread was my surprise that Beecham 
 could play the piano - not because I thought conductors were not  
instrumentalists, (I don't believe there are many conductors who aren't  proficient 
on some instrument), but because, as far as I know, Beecham never  had any 
formal training in music, certainly not in conducting.  Fortunately for us, 
he had a natural aptitude which is evident in his  extensive recorded legacy, 
but I don't think he studied with anybody; his  family was financially 
loaded so he or they paid for orchestras to come to  chez Beecham as his "toys" 
for him to practice with.  He by and large  conducted popular repertoire, 
"Lollipops" and main stream symphonies etc.  I don't think I've ever heard a 
Bruckner or Mahler Symphony under  Beecham, nor Prokofiev, Shostakovitch or 
Schoenberg.  But he did make a  point of dusting off obscure repertoire, like 
the Lalo Symphony.  None  of this is intended to be a put down
of Beecham; I revere his readings  and would never leave a Beecham 
recording in the store if I didn't already  have it.  My favourite of all the 
recorded "Messiah"s is his 1947  version - the first and only complete Messiah on 
78s and Beecham's only  complete Messiah.  The 1959 version leaves out some 
of the "B" sections  of arias, ("He Was Despised" and, I believe, "The 
Trumpet Shall  Sound")

On Tuesday, May 6, 2014 9:14:28 PM, David Lewis  <[log in to unmask]> wrote:

Although of minor relevance to the  thread, Stoki added xylophone to his
>arrangement of Handel's "Water  Music" which he recorded for Victor in, I
>think, 1927.
>That  would be heresy these days, but I found the effect quite novel  and
>David N. "Uncle Dave"  Lewis
>Lebanon, OH
>On Tue, May 6, 2014 at 7:53  PM, Tom Fine 
<[log in to unmask]>wrote:
>>  Related to this discussion:
>> In the December 1958  issue of Hi-Fi Review:
>> There is an article by  Colin McPhee about the music of Bali. Photos show
>> drums and  other native instruments.
>> -- Tom  Fine
>> ----- Original Message ----- From: "Jack  McCarthy" <
>> [log in to unmask]>
>> To:  <[log in to unmask]>
>> Sent: Tuesday, May 06, 2014  7:18 PM
>> Subject: [ARSCLIST] Stokowski and percussion  instruments
>>  In 2012-13  I served as consulting archivist for the Philadelphia
>>>  Orchestra's
>>> celebration of the centennial of its hiring of  Stokowski as conductor. 
>>> the PO archives I came across a  letter from Stoki during his 1928 Asia
>>> trip
>>>  in which he informs the PO that in Java he had purchased four  Javanese
>>> gongs
>>> and was shipping them to the  Orchestra. I was later able to track the
>>>  gongs
>>> down - they are owned by the Curtis  Institute.
>>> Eichheim, who traveled with Stoki  for part of the trip, also composed a
>>> piece entitled "Java"  that Stoki premiered with the PO in 1930. It 
>>> for  tuned gongs. I presume they used the ones Stoki had  purchased.
>>> For an exhibit I did as part of  the centennial celebration, I was able 
>>> display Stoki's  letter, two of the actual gongs, and the program from 
>>>  1930 performance of "Java."
>>>  Jack McCarthy
>>> Certified Archivist
>>>  Archival/Historical  Consultant
>>>  -----Original Message-----
>>> From: Association for Recorded  Sound Discussion List
>>> [mailto:[log in to unmask]] On  Behalf Of Carl Pultz
>>> Sent: Tuesday, May 06, 2014 8:10  AM
>>> To: [log in to unmask]
>>> Subject:  Re: [ARSCLIST] Dora Labbette, Soprano with string quartette:  
>>> Flowers of the Forests,  1925?
>>> 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" 
>>> from this journey,  which Stoki later recorded. Some of those 
>>>  may
>>> have ended up on his famous recording of "Gurrelieder."  It was an 
>>> 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: 
>>> 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  
>>> 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 
>>> 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 
>>> he was  credited as being one of the two pianists and others in which  
>>> was
>>> credited as the "conductor." Philip  Hart wrote about it on page 44 of 
>>> biography of  Reiner.
>>>  Don  Tait