Original Jacket Collection - Eugene Ormandy
Thornhill
1. Pines of Rome
Composer Ottorino Respighi (1879 - 1936)
2. Fountains of Rome
Composer Ottorino Respighi (1879 - 1936)
3. Feste romane
Composer Ottorino Respighi (1879 - 1936)
4. Pictures at an Exhibition
Composer Modest Mussorgsky (1839 - 1881)
5. Scheherazade, Op. 35
Composer Nikolai Rimsky-Korsakov (1844 - 1908)
6. Symphony no 2 in E minor, Op. 27
Composer Sergei Rachmaninov (1873 - 1943)
7. Songs (14), Op. 34: no 14, Vocalise
Composer Sergei Rachmaninov (1873 - 1943)
8. Symphony no 5 in E minor, Op. 64
Composer Peter Ilyich Tchaikovsky (1840 - 1893)
9. Serenade for Strings in C major, Op. 48
Composer Peter Ilyich Tchaikovsky (1840 - 1893)
10. Concerto for Orchestra, Sz 116
Composer Béla Bartók (1881 - 1945)
11. Miraculous Mandarin, Op. 19/Sz 73
Composer Béla Bartók (1881 - 1945)
12. Pictures (2) for Orchestra, Op. 10/Sz 46
Composer Béla Bartók (1881 - 1945)
13. Concerto for Violin in E minor, Op. 64
Composer Felix Mendelssohn (1809 - 1847)
14. Concerto for Violin in D major, Op. 35
Composer Peter Ilyich Tchaikovsky (1840 - 1893)
15. Symphony no 1 in F minor, Op. 10
Composer Dmitri Shostakovich (1906 - 1975)
16. Concerto for Cello no 1 in E flat major, Op. 107
Composer Dmitri Shostakovich (1906 - 1975)
17. Toccata and Fugue in D minor, BWV 565
Composer Johann Sebastian Bach (1685 - 1750)
18. Minuet in G major, BWV Anhung 114
Composer Johann Sebastian Bach (1685 - 1750)
19. Musette in D major, BWV Anhung 126
Composer Johann Sebastian Bach (1685 - 1750)
20. March in D major, BWV Anhung 122
Composer Johann Sebastian Bach (1685 - 1750)
21. Herz und Mund und Tat und Leben, BWV 147: Jesu bleibet meine
Freude "Jesu, joy of man's desiring"
Composer Johann Sebastian Bach (1685 - 1750)
22. Fugue in G minor, BWV 578 "Little G minor"
Composer Johann Sebastian Bach (1685 - 1750)
23. Passacaglia and Fugue in C minor, BWV 582
Composer Johann Sebastian Bach (1685 - 1750)
24. Suite for Orchestra no 3 in D major, BWV 1068: Air
Composer Johann Sebastian Bach (1685 - 1750)
25. Toccata, Adagio and Fugue in C major, BWV 564
Composer Johann Sebastian Bach (1685 - 1750)
26. Grand Overtures (6), Op. 18: no 1 in E flat major for Double
Orchestra
Composer Johann Christian Bach (1735 - 1782
27. Grand Overtures (6), Op. 18: no 3 in D major for Double Orchestra
Composer Johann Christian Bach (1735 - 1782)
28. Sinfonia in D minor, F 65
Composer Wilhelm Friedemann Bach (1710 - 1784)
29. Cavalleria Rusticana: Intermezzo
Composer Pietro Mascagni (1863 - 1945)
30. Adagio for Strings, Op. 11
Composer Samuel Barber (1910 - 1981)
31. Kuolema: Valse triste, Op. 44 no 1
Composer Jean Sibelius (1865 - 1957)
32. Lyric Suite for Orchestra, Op. 54: 3rd movement, Nocturne
Composer Edvard Grieg (1843 - 1907)
33. Elegiac Melodies (2) for Strings, Op. 34: no 2, Last spring
Composer Edvard Grieg (1843 - 1907)
34. Woodland Sketches, Op. 51: no 1, To a Wild Rose
Composer Edward MacDowell (1860 - 1908)
35. Fantasia on Greensleeves
Composer Ralph Vaughan Williams (1872 - 1958)
36. Fantasia on a theme by Thomas Tallis
Composer Ralph Vaughan Williams (1872 - 1958)
I'm glad that someone at Sony/BMG has remembered who Ormandy is, but
the selection is weak, and contains a number of recordings that have
long been available.
phlmae...@yahoo.com
from 1950 that's never been out on CD and that I think is clearly
superior to the stereo remake, but I imagine that's way too much to
hope for.
Matthew B. Tepper
to be typed in news:57dfc00d-fa50-4249-9ed1-e3f89eb63007
@l64g2000hse.googlegroups.com:
> I'm glad that someone at Sony/BMG has remembered who Ormandy is, but
> the selection is weak, and contains a number of recordings that have
> long been available.
Wak! This afternoon I went to Amoeba Music, and Charlie told me this set was
to be released, the first I'd heard of it. I asked him if it looked like it
would be a mix of Columbias and RCAs, as the Perlman Original Jacket set had
been, and he said he thought it was. I wonder which Rachmaninoff 2nd and
Bartok Concerto for Orchestra are included.
--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!
My personal home page -- http://home.earthlink.net/~oy/index.html
My main music page --- http://home.earthlink.net/~oy/berlioz.html
To write to me, do for my address what Androcles did for the lion
War is Peace. ** Freedom is Slavery. ** It's all Napster's fault!
Eric Nagamine
> Thornhill <seth...@gmail.com> appears to have caused the following letters
> to be typed in news:57dfc00d-fa50-4249-9ed1-e3f89eb63007
> @l64g2000hse.googlegroups.com:
>
>> I'm glad that someone at Sony/BMG has remembered who Ormandy is, but
>> the selection is weak, and contains a number of recordings that have
>> long been available.
>
> Wak! This afternoon I went to Amoeba Music, and Charlie told me this set was
> to be released, the first I'd heard of it. I asked him if it looked like it
> would be a mix of Columbias and RCAs, as the Perlman Original Jacket set had
> been, and he said he thought it was. I wonder which Rachmaninoff 2nd and
> Bartok Concerto for Orchestra are included.
>
From the looks of the box cover, it looks like all Columbia issues.
--
-----------
Aloha and Mahalo,
Eric Nagamine
http://classwebcast.googlepages.com/
Lionel Tacchini
>
> I'm glad that someone at Sony/BMG has remembered who Ormandy is, but
> the selection is weak, and contains a number of recordings that have
> long been available.
The main focus of an "Original Jacket Collection" is obviously not the
music.
Lionel Tacchini
Gerard
Looks like Ormandy was an expert on music by Bach(s).
td
Ormandy was an expert accompanist.
As for the rest, he was proficient, but largely not of the top drawer
in any particular composer. His career was strictly an American
phenomenon. And he recorded tons and tons of shit, something George
Szell and Fritz Reiner and Otto Klemperer and most of his colleagues
had the good sense to avoid. Perhaps he liked the money? Certainly his
players must have worshipped him : what a gravy train!
This set is the ultimate irrelevance. A review should be entitled "Who
Cares?"
TD
Gerard
>
> As for the rest, he was proficient, but largely not of the top drawer
> in any particular composer. His career was strictly an American
> phenomenon. And he recorded tons and tons of shit,
Do you have examples of this?
AFAIK he recorded what everybody else recorded too.
John
Apparently it's not the original jackets, either. For example,
Pictures at an Exhibition was originally coupled with Night on Bald
Mountain, not Scheherazade.
td
I managed to studiously avoid the oceans of pops tunes Columbia and
RCA, even, tried to foist on the public. I leave it to someone else to
give chapter and verse on this. All I can say is that I lived through
it and managed to survive without a single example in my LP
collection. For Columbia Ormandy served as their imitation of Arthur
Fiedler, but without the flair! Or the Living Stereo sound quality.
Ormandy couldn't even TOUCH Fiedler's Gaite Parisienne, for example.
And Reiner and Szell outclassed him in ALL the serious repertoire.
Which leaves what, exactly?
Well, as I say, he was a sympathetic accompanist.
TD
td
And you actually care?
TD
John
No, I don't.
Sol L. Siegel
wrote:
>And he recorded tons and tons of shit, something George
>Szell and Fritz Reiner and Otto Klemperer and most of his colleagues
>had the good sense to avoid. Perhaps he liked the money?
The players did. For decades the recording revenues, written into
their contracts, were income they took for granted. One of the big
reasons for their last strike, about a decade ago, was that it had not
yet sunk in that no commercial concern wanted to pay to record them
anymore.
Ironically, the strike put the kibosh on their last scheduled session
for EMI, a Richard Strauss disc under Sawallisch whose loss I only
slightly mourn.
As ever, I'm open to being corrected by anyone with better
information.
- Sol L. Siegel, Philadelphia, PA USA
Sol L. Siegel
Well, he thought he was. These have been available before, on
Masterworks Heritage. The J.C. and W.F. selections are of modest
interest.
Sol L. Siegel
<seth...@gmail.com> wrote:
>I'm glad that someone at Sony/BMG has remembered who Ormandy is, but
>the selection is weak, and contains a number of recordings that have
>long been available.
How about all of them?
Thornhill
> His career was strictly an American
> phenomenon.
What does America have to do with it?
Thornhill
> On Sat, 24 May 2008 20:33:32 -0700 (PDT), Thornhill
>
> >http://tinyurl.com/499luf
> >I'm glad that someone at Sony/BMG has remembered who Ormandy is, but
> >the selection is weak, and contains a number of recordings that have
> >long been available.
>
> How about all of them?
>
> - Sol L. Siegel, Philadelphia, PA USA
I know the Grieg pieces had been released on CBS CD, but I didn't
think Sony Essential Classics -- but now I see it was. After doing
some searching on Amazon, I think all of these recordings were
released on either Essential Classics or MasterWorks Heritage.
Thornhill
The Bach disc you speak of is interesting because it has performances
by both Ormandy and Stokowski recorded at the same time with
Philadelphia. Each get completely different sounds from the Orchestra.
The Stokowski recordings are much more convincing. It's really a waste
of a CD in this box to include Ormandy's Bach arrangements.
John_H...@msn.com
The lazy way to collect Ormandy and, of course, poor reissue content.
Just off the cuff with my flaking mind there is no Dello Joio Air
Power Suite (a magnificent lp) and the Albeniz: complete Iberia (and
no Brahms German Requiem {in English} with the wonderful filler of the
Rubbra orchestra Brahms Paganini Variations - a great version to
juxtapose with Toscanini's). Ho Hum.....zzzzz Hauser
John_H...@msn.com
>
> - Show quoted text -
By the way, I agree Ormandy's bach is quite different from Stoky's but
their not bad to have (there were at least 4 Ormandy Orchestrated
Bach records - and poof! comes to mind his recording of the Easter
Oratorio very sprightly and more Bachian than several original
instrument recordings) --and I I disagree with you on the point of
forgettablily - they should be out there. There's another performance
that certainly should be re-issued (unless it already has). Hauser
Steve de Mena
His LP(s?) of Christmas Music with the Philadelphia Orchestra and the
Mormon Tabernacle Choir.
Steve
Steve de Mena
The record companies are more likely to reissue recordings that are
desired globally.
Steve
Bob Lombard
The 'shit' quality of which may be a subjective judgment.
bl
Brendan R. Wehrung
I'm sure there are other examples of parochial interest. Munchinger, perhaps?
Brendan
Steve de Mena
It wasn't an example of shit, it was an example of something the
others (like Szell, Walter and maybe Bernstein) would not record.
Steve
ochani.j...@gmail.com
td
It means that Ormandy succeeded in the "small pond" by that outside
that little world he was a nobody.
Szell and Reiner and Bernstein, even Dorati, became internationally
famous for the quality of their interpretations.
TD
Thornhill
> On May 25, 12:14 pm, Thornhill <seth.l...@gmail.com> wrote:
>
> > On May 25, 7:29 am, td <tomdedea...@mac.com> wrote:
>
> > > His career was strictly an American
> > > phenomenon.
>
> > What does America have to do with it?
>
> It means that Ormandy succeeded in the "small pond" by that outside
> that little world he was a nobody.
And that never happened in Europe?
Gerard
Not with any strictly _American_ phenomenon, AFAIK.
grobbe...@gmail.com
> 1. Pines of Rome
> Composer Ottorino Respighi (1879 - 1936)
> 2. Fountains of Rome
> Composer Ottorino Respighi (1879 - 1936)
13 copies already available on Amazon Marketplace
> 4. Pictures at an Exhibition
> Composer Modest Mussorgsky (1839 - 1881)
13 copies already available on Amazon Marketplace
> 5. Scheherazade, Op. 35
> Composer Nikolai Rimsky-Korsakov (1844 - 1908)
Already available new on Amazon
> 6. Symphony no 2 in E minor, Op. 27
> Composer Sergei Rachmaninov (1873 - 1943)
Good! (but where is #1 & 3?)
> 8. Symphony no 5 in E minor, Op. 64
> Composer Peter Ilyich Tchaikovsky (1840 - 1893)
18 copies already available on Amazon Marketplace
etc.,etc.,etc.,
If Sony's aim with this product is towards those who have virtually no
Ormandy and would like a nice representative box of selected
recordings, well, I guess that’s fine but is this the type of issue
that creates a stir in the industry? When there's so many older and
(or) unavailable Ormandy performances that are even more rewarding
than these in the vaults, Something just come across as very lazily
(or perhaps inexpensively) done.
Dil
phlmae...@yahoo.com
> >
> If Sony's aim with this product is towards those who have virtually no
> Ormandy and would like a nice representative box of selected
> recordings, well, I guess that’s fine but is this the type of issue
> that creates a stir in the industry? When there's so many older and
> (or) unavailable Ormandy performances that are even more rewarding
> than these in the vaults, Something just come across as very lazily
> (or perhaps inexpensively) done.
>
> Dil
>
Agree completely. And to beat a dead horse, a set of his never-
released-on-CD early to mid 50s mono recordings would be so much more
interesting; both because they've never been out on CD and in a number
of cases, the performances are superior to the stereo re-makes.
Wagner Fan
news:57dfc00d-fa50-4249...@l64g2000hse.googlegroups.com...
http://tinyurl.com/499luf
1. Pines of Rome
Composer Ottorino Respighi (1879 - 1936)
2. Fountains of Rome
Composer Ottorino Respighi (1879 - 1936)
3. Feste romane
Composer Ottorino Respighi (1879 - 1936)
4. Pictures at an Exhibition
Composer Modest Mussorgsky (1839 - 1881)
5. Scheherazade, Op. 35
Composer Nikolai Rimsky-Korsakov (1844 - 1908)
6. Symphony no 2 in E minor, Op. 27
Composer Sergei Rachmaninov (1873 - 1943)
7. Songs (14), Op. 34: no 14, Vocalise
Composer Sergei Rachmaninov (1873 - 1943)
8. Symphony no 5 in E minor, Op. 64
Composer Peter Ilyich Tchaikovsky (1840 - 1893)
9. Serenade for Strings in C major, Op. 48
Composer Peter Ilyich Tchaikovsky (1840 - 1893)
10. Concerto for Orchestra, Sz 116
Composer Béla Bartók (1881 - 1945)
11. Miraculous Mandarin, Op. 19/Sz 73
Composer Béla Bartók (1881 - 1945)
12. Pictures (2) for Orchestra, Op. 10/Sz 46
Composer Béla Bartók (1881 - 1945)
13. Concerto for Violin in E minor, Op. 64
Composer Felix Mendelssohn (1809 - 1847)
14. Concerto for Violin in D major, Op. 35
Composer Peter Ilyich Tchaikovsky (1840 - 1893)
15. Symphony no 1 in F minor, Op. 10
Composer Dmitri Shostakovich (1906 - 1975)
16. Concerto for Cello no 1 in E flat major, Op. 107
Composer Dmitri Shostakovich (1906 - 1975)
29. Cavalleria Rusticana: Intermezzo
Composer Pietro Mascagni (1863 - 1945)
30. Adagio for Strings, Op. 11
Composer Samuel Barber (1910 - 1981)
31. Kuolema: Valse triste, Op. 44 no 1
Composer Jean Sibelius (1865 - 1957)
32. Lyric Suite for Orchestra, Op. 54: 3rd movement, Nocturne
Composer Edvard Grieg (1843 - 1907)
33. Elegiac Melodies (2) for Strings, Op. 34: no 2, Last spring
Composer Edvard Grieg (1843 - 1907)
34. Woodland Sketches, Op. 51: no 1, To a Wild Rose
Composer Edward MacDowell (1860 - 1908)
35. Fantasia on Greensleeves
Composer Ralph Vaughan Williams (1872 - 1958)
36. Fantasia on a theme by Thomas Tallis
Composer Ralph Vaughan Williams (1872 - 1958)
I'm glad that someone at Sony/BMG has remembered who Ormandy is, but
the selection is weak, and contains a number of recordings that have
long been available.
How is the sound??? The sound in the Orginal Jacket Szell and Bernstein sets
were superior to anything I had heard previously on CD. Wagner Fan
John
> On May 24, 10:33 pm, Thornhill <seth.l...@gmail.com> wrote:
>
> > 1. Pines of Rome
> > Composer Ottorino Respighi (1879 - 1936)
> > 2. Fountains of Rome
> > Composer Ottorino Respighi (1879 - 1936)
>
> 13 copies already available on Amazon Marketplace
>
But are these the late 1950s recordings (first released as MS 6001,
Columbia's first stereo LP), or the late 1960s remake? I suspect the
former.
> > 6. Symphony no 2 in E minor, Op. 27
> > Composer Sergei Rachmaninov (1873 - 1943)
>
> Good! (but where is #1 & 3?)
>
There have been two releases, both now out of print, the first on
Odyssey (with Symphony 2 split between discs)
and the second on Essential Classics (with Symphony 1 split between
discs)
> If Sony's aim with this product is towards those who have virtually no
> Ormandy and would like a nice representative box of selected
> recordings, well, I guess that’s fine but is this the type of issue
> that creates a stir in the industry? When there's so many older and
> (or) unavailable Ormandy performances that are even more rewarding
> than these in the vaults, Something just come across as very lazily
> (or perhaps inexpensively) done.
>
> Dil
The most recent Original Jacket box, Montserrat Caballe, has 15 CDs
and a list price of $89.99. The Ormandy, as well as the previously
released Perlman and Heitetz, has 10 CDs and a list of $79.99. If they
can make a megabox of Glenn Gould with CDs averaging under $3 per
disc, or a 22 disc set of Stravinsky selling well under $2 per disc,
why not these?
Gerard
>
> The most recent Original Jacket box, Montserrat Caballe, has 15 CDs
> and a list price of $89.99. The Ormandy, as well as the previously
> released Perlman and Heitetz, has 10 CDs and a list of $79.99. If they
> can make a megabox of Glenn Gould with CDs averaging under $3 per
> disc, or a 22 disc set of Stravinsky selling well under $2 per disc,
> why not these?
I suppose because these don't sell.
td
Because Glenn Gould sells. Worldwide. Big-time.
Ormandy doesn't.
Remember: this a a business, not a charity.
TD
John
phlmae...@yahoo.com
>
> If Ormandy doesn't sell, then why bother with the box to begin with?-
>
I'm not sure why they are. I'm probably one of the bigger Ormandy fans
on here and I have virtually no interest in spending that kind of
money on a set of previously-released material, even if the sound is
improved somewhat. I'd be all over it though if it was full of
material never before out on CD.
Bob Lombard
Don't you have the logic backwards, Tom?
bl
td
You would rather have Philippe Entremont?
TD
td
You haven't factored in either wishful thinking, or sheer incompetence
or, more likely, an attempt to flog the same old transfers off in a
fancy package. Think Detroit and the "new" 2009 Chevrolet! Or Pontiac!
Or Buick! Or Cadillac! This kind of scam is simply a part of the
business.
Got it now, Bob?
Oh, and I apologize for any obvious signs of cynicism. I reject
cynicism outright. Do you buy that?
TD
Bob Lombard
>
> Oh, and I apologize for any obvious signs of cynicism. I reject
> cynicism outright. Do you buy that?
>
> TD
Of course. Gullibility is my strongest characteristic.
bl
Beaver Lad
<007d291e-0cb6-42b3...@b1g2000hsg.googlegroups.com>, td
<tomde...@mac.com> wrote:
> On May 25, 7:33 am, "Gerard" <ghen_nospam_drik...@hotmail.com> wrote:
> > td wrote:
> >
> > > As for the rest, he was proficient, but largely not of the top drawer
> > > in any particular composer. His career was strictly an American
> > > phenomenon. And he recorded tons and tons of shit,
> >
> > Do you have examples of this?
> > AFAIK he recorded what everybody else recorded too.
>
> I managed to studiously avoid the oceans of pops tunes Columbia and
> RCA, even, tried to foist on the public. I leave it to someone else to
> give chapter and verse on this. All I can say is that I lived through
> it and managed to survive without a single example in my LP
> collection. For Columbia Ormandy served as their imitation of Arthur
> Fiedler, but without the flair! Or the Living Stereo sound quality.
> Ormandy couldn't even TOUCH Fiedler's Gaite Parisienne, for example.
> And Reiner and Szell outclassed him in ALL the serious repertoire.
>
> Which leaves what, exactly?
> Well, as I say, he was a sympathetic accompanist.
>
> TD
=================================================
Succinctly expressed. I spent part of my youth in a southern Ontario
city whose single classical station played TONS of Ormandy. I never
heard a single Ormandy recording that I liked, let alone one that I
wished to own. My collection is Ormandy-free!!
AGwyn...@aol.com
Jackets set and agree -- the selection is something of a
disappointment, though as I didn't have most of these recordings they
still hold some appeal. But the whole Original Jackets series is a
puzzle to me -- some of them, such as the Szell Beethoven set, have
had their sound upgraded from what was previously available (in the
US, at least), and others, such as the Szell Mozart set, have been
extended backward to include mono recordings that were otherwise
neglected; but the Bruno Walter Mahler/Brucker set actually misses one
key release by the former composer (the NY Philharmonic Mahler 1st
from the mid-1950's). I think this release is mostly an act of
desperation -- to get product out, and justify the continued
employment of some so-called creative people, as cheaply as possible,
and perhaps (though not at this asking price) sell some items to
longtime fans. There's no logic behind it, nothing unifying it except
the cover art . . . .
And I'm not a snob as to repertory -- Ormandy did some things well,
even if they now seem rather pedestrian (but some of which I still
listen to), and they did, indeed, sell as recently as the mid-1960's;
Clive Davis, in his autobiography, recalled the moment when the
conductor's contract and that of the orchestra were up, around 1967 or
1968, and Ormandy was demanding a hefty new advance; according to
Davis, he had an inventory done of existing recordings and discovered
that Columbia had enough recordings by him that were not yet issued to
match new releases for any other label for years to come, and gave him
his release (if he hadn't been making money, the label would not have
been so eager to record him in the boom years); he signed to RCA,
where his sales figures (apart, perhaps, from the Peter & The Wolf
with David Bowie) never came close to expectations. But there were
some fine recordings that aren't here -- the Mahler 10th, the
apocryphal (if that's the right word) Tchaikovsky Seventh, and the
Mathis Der Maler Symphony of Paul Hindemith, amongst others, plus some
of those oft-mentioned mono recordings.
In any case, like the Walter set, the box is worth owning, but not at
the asking price. That's my view, anyway. Now, if Columbia wants to do
further boxes, I suspect an original jackets collection of the Mormon
Tabernacle Choir might sell enough in Salt Lake City alone to justify
the effort . . . .
On Jun 28, 10:14 am, Beaver Lad <beaver...@febloo.ralnig> wrote:
> In article
> <007d291e-0cb6-42b3-b97d-48331a34a...@b1g2000hsg.googlegroups.com>, td
> wished to own. My collection is Ormandy-free!!- Hide quoted text -
Matthew B. Tepper
typed in
news:85ec942a-074d-4e4c...@j22g2000hsf.googlegroups.com:
> ...Clive Davis, in his autobiography, recalled the moment when the
> conductor's contract and that of the orchestra were up, around 1967 or
> 1968, and Ormandy was demanding a hefty new advance; according to Davis,
> he had an inventory done of existing recordings and discovered that
> Columbia had enough recordings by him that were not yet issued to match
> new releases for any other label for years to come, and gave him his
> release (if he hadn't been making money, the label would not have been so
> eager to record him in the boom years); he signed to RCA, where his sales
> figures (apart, perhaps, from the Peter & The Wolf with David Bowie)
> never came close to expectations. But there were some fine recordings
> that aren't here -- the Mahler 10th, the apocryphal (if that's the right
> word) Tchaikovsky Seventh, and the Mathis Der Maler Symphony of Paul
> Hindemith, amongst others, plus some of those oft-mentioned mono
> recordings.
Clive Davis' knowledge of, dedication to, and (yes, I'll say it) business
sense with regard to classical music would fit handily into a thimble, with
enough room left over for, say, a thimble. I don't care about what he's
done for the pop part of the biz (even setting aside his considerable
ethics problems); for the classical music part of the industry, he was a
constant disaster whenever he had any oversight of it.
--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!
My personal home page -- http://home.earthlink.net/~oy/index.html
My main music page --- http://home.earthlink.net/~oy/berlioz.html
To write to me, do for my address what Androcles did for the lion
Opinions expressed here are not necessarily those of my employers
Steve de Mena
> AGwyn...@aol.com appears to have caused the following letters to be
> typed in
> news:85ec942a-074d-4e4c...@j22g2000hsf.googlegroups.com:
>
>> ...Clive Davis, in his autobiography, recalled the moment when the
>> conductor's contract and that of the orchestra were up, around 1967 or
>> 1968, and Ormandy was demanding a hefty new advance; according to Davis,
>> he had an inventory done of existing recordings and discovered that
>> Columbia had enough recordings by him that were not yet issued to match
>> new releases for any other label for years to come, and gave him his
>> release (if he hadn't been making money, the label would not have been so
>> eager to record him in the boom years); he signed to RCA, where his sales
>> figures (apart, perhaps, from the Peter & The Wolf with David Bowie)
>> never came close to expectations. But there were some fine recordings
>> that aren't here -- the Mahler 10th, the apocryphal (if that's the right
>> word) Tchaikovsky Seventh, and the Mathis Der Maler Symphony of Paul
>> Hindemith, amongst others, plus some of those oft-mentioned mono
>> recordings.
>
> Clive Davis' knowledge of, dedication to, and (yes, I'll say it) business
> sense with regard to classical music would fit handily into a thimble, with
> enough room left over for, say, a thimble. I don't care about what he's
> done for the pop part of the biz (even setting aside his considerable
> ethics problems); for the classical music part of the industry, he was a
> constant disaster whenever he had any oversight of it.
I like what you left out of the previous sentence: "....Ormandy did
some things well,
even if they now seem rather pedestrian."
Steve
Matthew B. Tepper
letters to be typed in news:tt-dnes_C_4m1uTV...@giganews.com:
That's because I disagree with it, and I view it as at best only peripherally
relevant to my opinion of Clive Davis. Perhaps, as you seem to suggest, I
ought to have quoted it and then expressly indicated my disagreement. I do
so now, the latter part at least.