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.

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
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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 ?

Don Cox
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