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Try this:
https://www.facebook.com/permalink.php?story_fbid=910496129029276&id=140534429358787

A line break was added and broke the link.

On Tue, Oct 6, 2015 at 12:07 AM, John Haley <[log in to unmask]> wrote:

> Eric,
>
> The link doesn't work for me.
>
> Best,
> John Haley
>
>
> On Tue, Oct 6, 2015 at 12:54 AM, Eric Nagamine <[log in to unmask]>
> wrote:
>
> > Don,
> >
> > Here's the link to Denis Wick's Facebook page which has the complete
> > posting
> > about his feelings about conductors he'd worked with. I think the link is
> > viewable without having to sign in.
> >
> >
> >
> https://www.facebook.com/permalink.php?story_fbid=910496129029276&id=1405344
> > 29358787
> >
> >
> > --------------------------
> > Eric Nagamine
> >
> > -----Original Message-----
> > From: Association for Recorded Sound Discussion List
> > [mailto:[log in to unmask]] On Behalf Of Don Cox
> > Sent: Monday, October 5, 2015 1:00 AM
> > To: [log in to unmask]
> > Subject: Re: [ARSCLIST] LSO trombonist Denis Wick comments about
> recording
> > the Berg 3 Pieces for Mercury
> >
> > 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
> > [log in to unmask]
> >
>