​Speaking of Rites... I seem to recall a Craft-conducted interview with
Stravinsky published in High Fidelity (IIRC) in which excerpts from three
recordings were played to the master, and Igor pulled no punches on the von
Karajan. (That wasn't his style anyway.)

There's a commercially-unreleased CD of the Boston Philharmonic under Ben
Zander that is truly frightening in its ferocity (savagery). Most
amazingly, the band handles the very quick tempi without a collapse.


On Tue, May 5, 2015 at 9:45 AM, Tom Fine <[log in to unmask]>

> The Beethoven tuning clip is very interesting. Notice how the ancient
> music on ancient instruments crowd attempted some sort of ancient tunings
> as well. I don't know why the European orchestras in the electrical 78 era
> were sometimes pitched high (sharp). I wonder if it was intentional or
> there were playback speed issues in the disk to digital transfers.
> As for Stravinsky, the composer himself took his work at the correct,
> savage pace in his early recordings, but not in his stereo recording (at
> which time he was very old). Dorati and Salonen are the only modern
> interpreters who understand what savage means. It's too bad they didn't
> include Dorati's mono version (one of the bonus discs in MLP Box 2),
> because it is even faster and fiercer. The most pathetic were Karajan and
> Boulez, clearly they did not understand this piece of music, or felt a need
> to sanitize it for the nursing home crowd. There is almost nothing else
> written in the "classical" genre that is as intense and, to borrow a heavy
> metal term, balls to the walls, as the Rite of Spring It should always be
> played that way. It is about a pagan sacrifice of a human being!
> -- Tom Fine
> ----- Original Message ----- From: "Richard L. Hess" <
> [log in to unmask]>
> To: <[log in to unmask]>
> Sent: Tuesday, May 05, 2015 9:18 AM
> Subject: Re: [ARSCLIST] A-440, was speaking of pitch
>  Getting back on topic, my son Robert, the music student, passed on this
>> link to me--I don't think that I had mentioned this thread but we had been
>> talking about variations in recordings (specifically in regards to Dvorak's
>> New World Symphony (9th now after renumbering)).
>> So here are the opening chords of Beethoven's Eroica (3rd) Symphony,
>> recorded between 1924 and 2011.
>> And here is a similar compilation of a short section from Stravinsky's
>> Rite of Spring from 1921-2010
>> Yes, I know that the recording technology influences the pitch as much as
>> the actual playing, but, overall, I think these two are very informative
>> peeks into the degree of variation considered "normal."
>> The first Toscanini performance of the Beethoven really shows off the dry
>> acoustic of what I assume to be Studio 8H at 30 Rock...and perhaps why, in
>> 20/20 hindsight, it wasn't such a good idea,  though it seemed to make
>> sense at the time.
>> As an aside, my friend the late Dr. Gerre Hancock, after bringing the
>> choir of Men and Boys from St. Thomas Church to ABC TV-2 studio on W 66th
>> Street in NYC for a holiday season appearance on "Good Morning America"
>> asked me why I built studios that sounded like "pillow factories."
>> Get out your tuners or pitch pipes and enjoy! If you have perfect pitch
>> and are offended easily, please don't listen <smile>.
>> Cheers,
>> Richard
>> --
>> Richard L. Hess                   email: [log in to unmask]
>> Aurora, Ontario, Canada                             647 479 2800
>> Quality tape transfers -- even from hard-to-play tapes.