Print

Print


Thanks, Eliya.  Now I see that line break.  Great article!  Funny how as
listeners to recordings, we only get the experience of the music, while the
orchestral musicians get that layered with a lot more experience---that of
the personality of the conductor, the process of putting it all together
and the work they do itself.  What might make for interesting times and
experiences for the players might not always strike mere listeners of
recordings the same way.  I am sure every one of us who enjoys orchestral
recordings will find one or more conductors that this great player liked,
whose recordings we can live without.

I have read similar comments about Beecham by others.  He was also revered
by the French orchestras he conducted.  It would be wonderful to understand
how he did his magic.  There seemed to be no rage, no anger, no
intimidation tactics.  Yet the results were superb, at least as we hear on
his recordings.  And the orchestra he formed and recorded with so often
(the Royal Philharmonic, altho the LPO that he helped create was great
too), had a distinctive tonal sweetness and perfection of sound that few
other orchestras have equaled since (at least as it was captured on
recordings!).

Best,
John Haley




On Tue, Oct 6, 2015 at 1:09 AM, eliya gwetta <[log in to unmask]> wrote:

> 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]
> > >
> >
>