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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]