BSO Symphony Hall Centennial Set Redux
Eric Nagamine
There's finally mention of the set on the BSO website with a little more
information about contents. Some very interesting conductors are
included in the set. The Cantelli is supposedly the only recording of
him conducting the Pines of Rome. There are some mp3 excerpts on the
site but no ordering information on the site as yet, only a note to
check back October 2nd.
"Boston Symphony Orchestra Symphony Hall Centennial Celebration: From
the Broadcast Archives 1943-2000"
http://www.bso.org/itemB/detail.jhtml?id=4300015&area=bso
12 CDs $225 + S/H/Taxes (Besides the BSO, Virgin Megastores in North
America will be selling this)
If you really want to know the complete contents of the set, look in the
August Gramophone for an e-mail address where you can ask for a color
brochure for the set.
A question for lawyers on the list: Does the following mean that I can't
disseminate the contents of the set to RMCR?
DISCLAIMER - The preceding e-mail message (including any attachments)
contains information that may be confidential, may be
protected by the attorney-client or other applicable privileges, or may
constitute non-public information. It is intended
to be conveyed only to the designated recipient(s) named above. If you
are not an intended recipient of this message,
please notify the sender by replying to this message and then delete all
copies of it from your computer system. Any use,
dissemination, distribution, or reproduction of this message by
unintended recipients is not authorized and may be
unlawful. The contents of this communication do not necessarily
represent the views of this company.
A funny way to promote a product don't you think? (In this case, it
isn't the BSO, but the IMG people who put this on their e-mail response)
--
-----------
Aloha and Mahalo,
Eric Nagamine
Edward A. Cowan
[from the DISCLAIMER]:
> Any use,
> dissemination, distribution, or reproduction of this message by
> unintended recipients is not authorized and may be
> unlawful.
Note that "*is* not authorized" uses the indicative (but not
"authorized" by whom?), and "*may* be unlawful" is subjunctive,
indicating that the "unlawful" might (again, subjunctive! <g>) be
contrary to fact. Myself, I think it's just bluff...
--
E.A.C.
Matthew B. Tepper
news:3B8F40D8...@hawaii.rr.com:
> More info on the BSO box set:
>
> There's finally mention of the set on the BSO website with a little more
> information about contents. Some very interesting conductors are
> included in the set. The Cantelli is supposedly the only recording of
> him conducting the Pines of Rome. There are some mp3 excerpts on the
> site but no ordering information on the site as yet, only a note to
> check back October 2nd.
I hope this is the final bit of "slippage" for the release date. If it
isn't, I don't suppose I'll be *that* surprised.
The Cantelli was previously available on ASdisc AS 507, that is, until it
was stomped out.
> "Boston Symphony Orchestra Symphony Hall Centennial Celebration: From
> the Broadcast Archives 1943-2000"
>
> http://www.bso.org/itemB/detail.jhtml?id=4300015&area=bso
>
> 12 CDs $225 + S/H/Taxes (Besides the BSO, Virgin Megastores in North
> America will be selling this)
Not Tower? (sad grin)
> If you really want to know the complete contents of the set, look in the
> August Gramophone for an e-mail address where you can ask for a color
> brochure for the set.
I think we're all grown-ups here and can have the whole contents revealed
without plotzing.
The Giulini "Mathis del Maler" whets my interest, because I heard him do
the work here in L.A. back in the 1970s. Despite a few orchestral
clinkers, it was an ethereal and beautiful performance, exquisitely
balanced and shaped.
> A question for lawyers on the list: Does the following mean that I can't
> disseminate the contents of the set to RMCR?
>
> DISCLAIMER - The preceding e-mail message (including any attachments)
> contains information that may be confidential, may be
> protected by the attorney-client or other applicable privileges, or may
> constitute non-public information. It is intended
> to be conveyed only to the designated recipient(s) named above. If you
> are not an intended recipient of this message,
> please notify the sender by replying to this message and then delete all
> copies of it from your computer system. Any use,
> dissemination, distribution, or reproduction of this message by
> unintended recipients is not authorized and may be
> unlawful. The contents of this communication do not necessarily
> represent the views of this company.
>
> A funny way to promote a product don't you think? (In this case, it
> isn't the BSO, but the IMG people who put this on their e-mail response)
Sheesh!
--
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
Top 3 worst UK exports: Mad-cow; Foot-and-mouth; Charlotte Church
Paul Goldstein
> A question for lawyers on the list: Does the following mean that I can't
> disseminate the contents of the set to RMCR?
>
> DISCLAIMER - The preceding e-mail message (including any attachments)
> contains information that may be confidential, may be
> protected by the attorney-client or other applicable privileges, or may
> constitute non-public information. It is intended
> to be conveyed only to the designated recipient(s) named above. If you
> are not an intended recipient of this message,
> please notify the sender by replying to this message and then delete all
> copies of it from your computer system. Any use,
> dissemination, distribution, or reproduction of this message by
> unintended recipients is not authorized and may be
> unlawful. The contents of this communication do not necessarily
> represent the views of this company.
>
> A funny way to promote a product don't you think? (In this case, it
> isn't the BSO, but the IMG people who put this on their e-mail response)
This is typical language used by lawyers in their emails and faxes.
My guess is that for some reason, the email you received was sent by a
lawyer (maybe a member of the BSO board?) who was working at his
office. I can't conceive of a reason why it would apply here.
Brendan R. Wehrung
Hasn't this alwazys been the policy of the Boston Symphony Transcription
Trust, "we've got it and you don't, nya, nya, nya"?
Brendan
Ramon Khalona
>
> A question for lawyers on the list: Does the following mean that I can't
> disseminate the contents of the set to RMCR?
>
> DISCLAIMER - The preceding e-mail message (including any attachments)
> contains information that may be confidential,
etc., etc.,
>
> A funny way to promote a product don't you think? (In this case, it
> isn't the BSO, but the IMG people who put this on their e-mail response)
This was just a boilerplate sig file not to be taken seriously.
RK
Matthew B. Tepper
to have the complete contents listing?
Kevin P. Mostyn
I did not say complete. I said "a rather more detailed listing."
I have not seen the issue yet and I don't know how complete it will be.
________________________________
Kevin P. Mostyn
To get my real address, remove the spaces and the * from below.
kou*ssy @ l*ns.com
_______________________
Original message follows:
"Matthew B. Tepper" <oy兀earthlink.net> wrote in message
news:9mpcn...@enews2.newsguy.com...
Kevin P. Mostyn
In the course of its existence, from 1957 to 1991, the Boston Symphony
Transcription Trust syndicated all the concerts of the Boston Symphony. They
were sent to hundreds of radio stations in the USA and several abroad. Even
the Armed Forces Radio and Television Network got a copy! Millions of people
heard the broadcasts. Probably thousands of airchecks were made of these
broadcasts. In the light of this, how can you justify your remark? If you
had been born earlier, you could have taped every one of these broadcasts
yourself. Some people may have done just that. I may have even met them.
Issuing them on CD required a process whose difficulty is only slightly less
than that of making peace in the Middle East. Remember that the BSTT tapes
were made under a specific agreement with the musician's union. That
agreement did not anticipate that they would ever be commercially issued.
The BSO does not "own" the absolute right to exploit these broadcasts
commercially. As I look through my file of e-mails on this project, I note
that I either received or sent a total of 468 e-mails, dating from Feb. 25,
1999, the date on which it was finally decided to go ahead with the project.
There were many other e-mails that I did not get. Preliminary discussions
began a full year earlier, in 1998.
If this set sells well, there may be subsequent issues. Hopefully the
process will be easier and quicker. There are many treasures in the BSO's
archive and elsewhere.
________________________________
Kevin P. Mostyn
To get my real address, remove the spaces and the * from below.
kou*ssy @ l*ns.com
_______________________
Original message follows:
"Brendan R. Wehrung" <ck...@FreeNet.Carleton.CA> wrote in message
news:9morig$cnp$1...@freenet9.carleton.ca...
<snip>
Matthew B. Tepper
news:31_j7.36418$sa.18...@news1.rdc1.sfba.home.com:
> I did not say complete. I said "a rather more detailed listing."
Well, that's better than what we have to go on so far. No offense
intended, of course, since you have whatever confidentiality agreement
still with them.
> I have not seen the issue yet and I don't know how complete it will be.
But it will be better than nothing.
Eric Nagamine
>
> More info on the BSO box set:
>
> There's finally mention of the set on the BSO website with a little more
> information about contents. Some very interesting conductors are
> included in the set. The Cantelli is supposedly the only recording of
> him conducting the Pines of Rome. There are some mp3 excerpts on the
> site but no ordering information on the site as yet, only a note to
> check back October 2nd.
>
> "Boston Symphony Orchestra Symphony Hall Centennial Celebration: From
> the Broadcast Archives 1943-2000"
>
> http://www.bso.org/itemB/detail.jhtml?id=4300015&area=bso
>
> 12 CDs $225 + S/H/Taxes (Besides the BSO, Virgin Megastores in North
> America will be selling this)
The IMG rep said it was okay to distribute the contents of the set so
here it is: (Sorry if the formatting is bad, but I just did a cut and
paste)
Boston Symphony Orchestra
Symphony Hall Centennial Celebration
From the Broadcast Archives 1943-2000
Track Listing
VOLUME 1
Disc 1 (77:19)
SERGE KOUSSEVITZKY conducting
BARTÓK Concerto for Orchestra (December 30, 1944; broadcast premiere)
LIADOV "From the Apocalypse" (May 1, 1943)
BERNSTEIN "The Age of Anxiety," Symphony No. 2 for piano and orchestra
with
Leonard Bernstein, piano (April 9, 1949; world premiere)
Disc 2 (74:14)
PIERRE MONTEUX conducting
R. STRAUSS "Don Quixote" (January 24, 1959) with Samuel Mayes, cello,
and
Joseph de Pasquale, viola
R. STRAUSS Suite from "Der Rosenkavalier" (February 17, 1956)
VAUGHAN WILLIAMS Fantasia on a Theme of Thomas Tallis (December 20,
1963)
VOLUME 2
Disc 3 (78:27)
CHARLES MUNCH conducting
FRANCK "Le Chasseur maudit" (October 10, 1959)
FAURÉ Prelude to "Pénélope" (December 12, 1959)
ROUSSEL Suite in F (March 8, 1958)
DEBUSSY "La Mer" (March 30, 1962)
RAVEL "La Valse" (February 2, 1962)
Disc 4 (78:17)
ERICH LEINSDORF conducting
JANÁCEK Suite from "The Cunning Little Vixen" (September 30, 1966;
American
premiere)
SHOSTAKOVICH Symphony No. 1 (September 26, 1964)
WAGNER "Siegfried Idyll" (October 1 or 2, 1965)
SMETANA "The Moldau" (April 22, 1967)
VOLUME 3
Disc 5 (74:42)
WILLIAM STEINBERG conducting
BRUCKNER Symphony No. 8 (February 26, 1972)
Disc 6 [BSO Principal Guest Conductors] (76:49)
COLIN DAVIS: VAUGHAN WILLIAMS Symphony No. 4 (October 26, 1973)
BERNARD HAITINK: SCHUBERT Symphony No. 3 (May 2, 1992)
MICHAEL TILSON THOMAS: PROKOFIEV "Scythian Suite" (September 22, 1972)
VOLUME 4
Disc 7 (79:44)
SEIJI OZAWA conducting
BARTÓK "Duke Bluebeard's Castle" (November 8, 1980)
with Yvonne Minton, mezzo-soprano (Judith) and Gwynne Howell,
bass-baritone
(Bluebeard)
R. STRAUSS Duet-Concertino for Clarinet and Bassoon with String
Orchestra and Harp
(March 12, 1988) with Harold Wright, clarinet, and Sherman Walt,
bassoon
Disc 8 (75:35)
SEIJI OZAWA conducting
MESSIAEN "Trois Petites Liturgies de la Présence divine" (October 7,
1978)
with Yvonne Loriod, piano; Jeanne Loriod, ondes Martenot; Tanglewood
Festival
Chorus, John Oliver, conductor
MARTIN Concerto for Seven Winds, Timpani, Percussion, and String
Orchestra
(September 30, 1977) with Doriot Anthony Dwyer, flute; Ralph Gomberg,
oboe; Harold
Wright, clarinet; Sherman Walt, bassoon; Armando Ghitalla, trumpet;
Charles Kavalovski,
horn; Ronald Barron, trombone; Everett Firth, timpani
STRAVINSKY "Symphony of Psalms" (December 5, 1987)
with the Tanglewood Festival Chorus, John Oliver, conductor
VOLUME 5
Disc 9 [Guest Conductors 1] (77:09)
THOMAS SCHIPPERS: VERDI Overture to "La forza del destino" (March 18,
1961)
IGOR MARKEVITCH: TCHAIKOVSKY "Romeo and Juliet" (March 19, 1955)
GUIDO CANTELLI: RESPIGHI "Pines of Rome" (December 24, 1954)
CARLO MARIA GIULINI: HINDEMITH Symphony "Mathis der Maler" (March 30,
1974)
Disc 10 [Guest Conductors 2] (71:37)
LEOPOLD STOKOWSKI: MOZART Overture to "Don Giovanni" (January 13,
1968)
RAFAEL KUBELIK: MARTINU Double Concerto for Two String Orchestras,
Piano,
and Timpani (January 14, 1967)
STOKOWSKI: TCHAIKOVSKY "Hamlet" (January 13, 1968)
DIMITRI MITROPOULOS: GOULD "Spirituals" for String Choir and Orchestra
(December 16, 1944)
KLAUS TENNSTEDT: BRAHMS "Academic Festival" Overture (December 14,
1974)
VOLUME 6
Disc 11 [Guest Conductors 3] (76:53)
BRUNO WALTER: HAYDN Symphony No. 92, "Oxford" (January 21, 1947)
RICHARD BURGIN: STRAVINSKY Divertimento from "Le Baiser de la fée"
(December 8, 1962)
AARON COPLAND: COPLAND "Music for a Great City" (April 10, 1965)
Disc 12 [Encores and Rehearsals] (75:15)
Encores
OZAWA: BERLIOZ "Roman Carnival" Overture (April 4, 2000)
C. DAVIS: BERLIOZ "Royal Hunt and Storm" from "Les Troyens" (November 8,
1974)
KOUSSEVITZKY: GLINKA "Ruslan and Ludmila" Overture (April 1, 1944; from
Hunter College, New York)
LEINSDORF: LANNER "Die Mozartisten," Waltzes (January 3, 1964)
MUNCH: AUBER Overture to "La Muette de Portici" (December 24, 1953)
JOSEPH SILVERSTEIN: FAURÉ "Fileuse" and Sicilienne" from "Pelléas et
Mélisande"
(February 23, 1980)
HAITINK: HOLST "Jupiter" from "The Planets" (October 22, 1998)
MUNCH: PROKOFIEV Scherzo and March from "Love for Three Oranges"
(November 28, 1953)
Rehearsal Excerpts
KOUSSEVITZKY: VAUGHAN WILLIAMS Symphony No. 6 (March 14, 1949)
LEONARD BERNSTEIN: MESSIAEN "Turangalîla-symphonie" (November 28, 1949)
Eric Nagamine
FOR IMMEDIATE RELEASE
Denise Ranker (212) 496-0112
Sylvie Bigar, International Public Relations
BOSTON SYMPHONY ORCHESTRA RELEASES
"SYMPHONY HALL CENTENNIALCELEBRATION: FROM THE BROADCAST
ARCHIVES 1943-2000" - 12-DISC SET OF ARCHIVAL BROADCAST RECORDINGS
SET FEATURES KOUSSEVITZKY, MUNCH, MONTEUX, LEINSDORF, HAITINK, OZAWA,
AND DISTINGUISHED GUEST CONDUCTORS LEADING THE ORCHESTRA IN HISTORIC
PERFORMANCES FROM BOSTON'S SYMPHONY HALL
On October 2, 2001, the Boston Symphony Orchestra will open its
broadcast archive to the public, releasing a box set of previously
unissued BSO broadcast recordings on 12 compact discs titled "Boston
Symphony Orchestra Symphony Hall Centennial Celebration: From the
Broadcast Archives 1943-2000." More than 40 works are included,
spanning nearly 60 years, from Serge Koussevitzky leading the BSO in
Liadov's "From the Apocalypse" (May 1943) to Seiji Ozawa leading the
orchestra in Berlioz's "Roman Carnival" Overture (April 2000). The
box-set, including an accompanying booklet, will sell for $225.
Five discs in the set are devoted to Seiji Ozawa's five predecessors as
music director- Pierre Monteux (music director from 1919-1924,
represented by broadcasts from his guest appearances in the 1950s and
1960s), Serge Koussevitzky (music director from 1924-49), Charles Munch
(1949-62), Erich Leinsdorf (1962-69), and William Steinberg (1969-72).
Current music director Seiji Ozawa (1973-present) personally selected
his repertoire for two discs devoted to him. One disc is devoted to
performances by each of the three conductors who have held the title
"Principal Guest Conductor" of the BSO. Three discs are devoted to
distinguished legendary guest conductors, including Guido Cantelli,
Carlo Maria Giulini, Rafael Kubelik, Igor Markevitch, Dimitri
Mitropoulos, Thomas Schippers, Klaus Tennstedt, Leopold Stokowski, and
Bruno Walter. Two longtime BSO concertmasters, Richard Burgin and
Joseph Silverstein, who also served as assistant conductors, and Aaron
Copland, who maintained a lifelong affiliation with the BSO from the
time of Koussevitzky, are also included. The final CD features encores
and rehearsal excerpts, with additional performances by Ozawa, Colin
Davis, Koussevitzky, Leinsdorf, Munch, and Haitink, as well as rehearsal
excerpts led by Koussevitzky and Leonard Bernstein. Altogether, the set
totals more than 15 hours of music.
In addition to the recordings themselves, this set of historic
performances includes extensive liner notes from the original BSO
program books, newspaper review quotes, reminiscences by former
orchestra members, and artist biographies. A 140-page booklet including
an introductory message from Seiji Ozawa, several essays, archival
photographs, and other illustrations accompanies the box set. Also
included are histories of the Boston Symphony broadcasts, the BSO, and
Symphony Hall, a cumulative roster of Boston Symphony members, and texts
and translations.
A selection committee - including BSO Artistic Administrator Anthony
Fogg; former WCRB founder and general manager Richard L. Kaye; John
Pattrick and Stephen Wright of IMG Artists, London, which collaborated
with the BSO on production of the set; two retired BSO members (cellist
Robert Ripley and violinist Harvey Seigel); current BSO bass trombonist
Douglas Yeo; and BSO Director of Program Publications Marc Mandel -
developed criteria at the outset to aid in the selection process,
ultimately narrowing down from more than 75 hours of music. BSO Music
Director Seiji Ozawa was also involved in the selection. Since the set
commemorates the centennial of Symphony Hall, the Boston Symphony's
world-renowned home, all but one of the performances originate from
there. The exception is a Koussevitzky-led performance of Glinka's
"Ruslan and Ludmila" Overture, broadcast from Hunter College in New York
(1944). The committee also decided to focus on performances
highlighting the orchestra itself - its conductors and principal players
- rather than on the many extraordinary guest soloists who have appeared
with the BSO over the years.
The source materials for the broadcasts included in this 12-disc set
include original transcription discs now preserved in the Library of
Congress and BSO Archives, Boston Symphony Transcription Trust broadcast
tapes, and off-the-air tapes donated to the BSO Archives by private
collectors. Although several of the performances in this box have
circulated in unauthorized "pirate" editions - including the BSO's
broadcast premiere of Bartók's Concerto for Orchestra under Koussevitzky
- the present authorized releases use previously unavailable source
material to present these performances in the best possible sound. The
recordings were remastered by Abbey Road using 24-bit state of the art
technology.
Serge Koussevitzky's three performances on Disc 1, music he never
recorded commercially, include the broadcast premiere of the Bartók
Concerto for Orchestra, a work he commissioned and reprogrammed several
weeks after the world premiere. Koussevitzky's performances also
include the world premiere of Leonard Bernstein's Symphony No. 2, "The
Age of Anxiety," with the composer as pianist (April 1949), and Liadov's
"From the Apocalypse" (May 1943), the oldest broadcast in the set. Both
the Bartók and Bernstein works are heard with their original endings,
which were later revised.
Pierre Monteux is represented by Strauss's "Don Quixote," the Suite from
Strauss's "Der Rosenkavalier," and Vaughan Williams' Fantasia on a Theme
of Thomas Tallis. Charles Munch is represented by two virtually unknown
works - the Prelude to Fauré's opera "Pénélope" and Roussel's Suite in
F, which had its world premiere with Koussevitzky and the BSO in 1927 -
as well as Franck's "Le Chasseur maudit," Debussy's "La Mer," and
Ravel's "La Valse." Erich Leinsdorf is represented by four works - the
Suite from Janácek's "Cunning Little Vixen" in its American premiere,
Shostakovich's Symphony No. 1, Wagner's "Siegfried Idyll," and Smetana's
"The Moldau." William Steinberg is represented by a single large work -
Bruckner's monumental Symphony No. 8. Except for the Roussel, Franck,
Debussy, and Ravel on the Charles Munch disc, none of these works were
recorded commercially by the conductors who led them at the BSO. On the
disc devoted to principal guest conductors, all three are represented by
music that augments their commercial discographies - Colin Davis by
Vaughan Williams' Symphony No. 4, Michael Tilson Thomas by Prokofiev's
"Scythian Suite," and Bernard Haitink by Schubert's Symphony No. 3.
The two discs devoted to Seiji Ozawa include music he has never recorded
commercially and which was chosen by him specifically for this
collection - Stravinsky's "Symhony of Psalms" (commissioned by Serge
Koussevitzky for the BSO's 50th anniversary) and Messiaen's "Trois
Petites Liturgies de la Présence divine," both featuring the Tanglewood
Festival Chorus; Strauss's Duet-Concertino for Clarinet and Bassoon and
Frank Martin's Concerto for Seven Winds, Timpani, Percussion, and String
Orchestra, both featuring BSO principal players; and Bartók's
"Bluebeard's Castle," with vocal soloists Yvonne Minton and Gwynne
Howell.
On the three discs devoted to esteemed guest conductors, Guido
Cantelli leads Respighi's "The Pines of Rome" in what is apparently the
only extant recording of him conducting this work; Carlo Maria Giulini
leads Hindemith's Symphony "Mathis der Maler"; Rafael Kubelik leads
Martin's Double Concerto for Two String Orchestras, Piano, and Timpani;
Igor Markevitch conducts Tchaikovsky's "Romeo and Juliet," from his
American debut program; Dimitri Mitropoulos conducts Morton Gould's
"Spirituals" for String Choir and Orchestra; Thomas Schippers directs
the overture to Verdi's "La forza del destino"; Klaus Tennstedt leads
Brahms' "Academic Festival" Overture, from his American debut program;
Leopold Stokowski conducts Tchaikovsky's "Hamlet" and Mozart's "Don
Giovanni" Overture with the conductor's own concert ending; and Bruno
Walter heads Haydn's Symphony No. 92. In addition, Aaron Copland
conducts his own "Music for a Great City"; longtime BSO
concertmaster/assistant conductor (under Koussevitzky and Munch) Richard
Burgin leads Stravinsky's "Fairy's Kiss" Divertimento; and longtime BSO
concertmaster/assistant conductor (under Leinsdorf, Steinberg, and
Ozawa) Joseph Silverstein conducts selections from Fauré's music for
"Pelléas et Mélisande." The two rehearsal excerpts on Disc 12 feature
Serge Koussevitzky rehearsing the BSO in Vaughan Williams' Symphony No.
6, premiered in the US by Koussevitzky and the BSO at Tanglewood the
previous summer; and Leonard Bernstein preparing the orchestra for the
world premiere of Olivier Messiaen's "Turangalîla-symphonie."
The BSO recently celebrated the centennial of Symphony Hall. The Boston
Symphony Orchestra gave its inaugural concert in October 1881 in the old
Boston Music Hall, a venue that proved unsuitable for a variety of
reasons, including the acoustics. In October 1892, BSO founder Henry
Lee Higginson acquired land in Boston's Back Bay with a view toward
providing the BSO a proper home. That same year, the architectural firm
of McKim, Mead and White accepted Higginson's request to design the new
building. At Higginson's insistence, Wallace Clement Sabine, an
assistant professor of physics at Harvard, was engaged as acoustical
consultant, and Symphony Hall became the first auditorium designed in
accordance with scientifically-derived acoustic principles. The Hall
was completed just shortly before the opening concert held on October
15, 1900, with Wilhelm Gericke conducting the Boston Symphony Orchestra,
a roster of soloists, and a chorus of some 250 voices, in a program
concluding with Beethoven's "Missa Solemnis" - an event that drew
unanimous critical acclaim.
The BSO's first live concert broadcasts, privately funded, ran from
January 1926 through the 1927-28 season. From late 1932 until 1938, BSO
concerts were carried by NBC, but then, as a non-union orchestra, the
BSO was barred from the air. Broadcasts from Symphony Hall were resumed
following the ratification of a union contract in December 1942 on NBC,
and then on ABC through the 1947-48 Symphony Hall season. For three
seasons starting in the fall of 1948, portions of BSO rehearsals were
aired as part of the half-hour NBC series "The Boston Symphony Orchestra
in Rehearsal." Boston Symphony broadcasts from Symphony Hall resumed on
October 6, 1951, with the inaugural broadcast of Boston radio station
WGBH, a non-commercial, educational FM station in which the Boston
Symphony itself was a partner. Since that time, the BSO's
Friday-afternoon and Saturday-evening concerts have been carried live
locally in full. In the late 1950s, Boston area radio station WCRB also
began carrying BSO concerts, as did a number of other stations,
including WQXR in New York. In October 1957, the Boston Symphony
Transcription Trust, ultimately to become a joint venture of WGBH and
WCRB, was created to produce BSO broadcast tapes for syndication
throughout the country. Though syndication was discontinued for lack of
funds in the early 1990s, tapes are still being made for the orchestra's
archive. Live concerts from Symphony Hall and from Tanglewood, the
orchestra's summer home, continue to be aired by WCRB and WGBH.
"Boston Symphony Orchestra Symphony Hall Centennial Celebration: From
the Broadcast
Archives 1943-2000," available for $225 plus shipping, handling, and tax
where applicable, can be purchased in the United States and Canada by
calling 1-888-266-1200 (Mon-Sat, 10am-6pm EST) or internationally by
calling 1-617-266-1200 (Mon-Sat, 10am-6pm EST); by faxing
1-617-638-9301, and online at www.bso.org. Order forms are available by
writing to the Symphony Shop, Symphony Hall, 301 Massachusetts Ave.,
Boston, MA 02115, USA. Please note that credit card payment is required
for all online and telephone orders. The set will also be available at
the Symphony Hall Shop in Boston, MA, at the Tanglewood Glass House Gift
Shops in Lenox, MA, and at Virgin Megastores in North America, including
the new Virgin Megastore in Boston opening in November 2001.
The Boston Symphony is on the Internet at www.bso.org.
Current press releases are available online at
http://www.bso.org/info/press.cfm
Matthew B. Tepper
Hat NYC 62
appreciated even when not perfect. But I can't help but notice that there is
not ONE performance by Arthur Fiedler, a man who kept the checkbook balanced
for an awfully long time. Certainly not one of the greatest musicians of the
20th century. But he was someone who at least kept the Pops at a relatively
high level of performance.
Certainly, there must have been one short performance in the archives worthy of
reissue, and perhaps more than that.
The one that immediately comes to mind is a live recording I once heard of
Fiedler conducting 'Tubby the Tuba' with Julia Child narrating. If that had
been included, I might have bought the set!
David Hattner, NYC
www.northbranchrecords.com
Puckn
performances. I am extremely disappointed by the contents of the BSO archival
set.
Most of it is late 19th and 20th century music. There is little Bach, Mozart,
Beethoven, or Schubert. Much of the repetory is esoteric. Those who chose the
contents seemed reulctant to choose works that the conductors had already
recorded.
I would have chosen none of these, except perhaps the Don Giovanni overture
conducted by Stokowski and the Bruckner by Steinberg.
Here are some performances I would consider essential:
Beethoven 9th: Bernstein (1970)
Mahler 2nd Abbado (1979)
Beethoven:Violin Concerto (Silverstein)
Mahler 4th (Tennstedt)
Schubert 9th (Tennstedt)
Mozart Piano Concert No 12. (Frankl, Davis)
Mahler: Das Lied: Levine
Mahler 3rd Levine
Beethoven Eroica Eschenbach
Bruckner 7th Janowski
Mahler Das Knaben (Norman Shirley-Quirk, Davis)
These, one and all, are glorious performances.
Allan Kohrman
Newton, MA
Matthew B. Tepper
news:20010901150154...@mb-fl.aol.com:
> Here are some performances I would consider essential:
>
[...]
> Mahler 2nd Abbado (1979)
A friend who was at that performance has spoken highly of it ever since.
> Schubert 9th (Tennstedt)
This was much-storied in the press at the time (was it Tennstedt's American
premiere, or shortly after?), and I heard him do this in San Francisco,
where the coupling oddly enough was Richard Strauss' Suite from "Bourgeois
Gentilhomme." I was impressed, but not as much as Minneapolis audiences
were to do when he became Principal Guest Conductor there.
Don Drewecki
But will the Tanglewood Glass House still be open in October? It would
be fun to drive over and buy it personally, just 45 miles from my house.
--
Don Drewecki
<dre...@rpi.edu>
Edward A. Cowan
--
E.A.C.
Frank Galvin
would be coming out in October 2005, but, instead of "Duke
Bluebeard's Castle," why-oh-why not Ozawa's "L'Enfant et les
sortilèges" from 1974, with de Gaetani, D'Anna Fortunato, et al.?
This is *not* the only worthy thing he did during his [how long,
oh Lord, how long?] tenure, but it comes close...
Best,
Frank
----------
In article
<pQak7.3735$l8.2...@newsread1.prod.itd.earthlink.net>, "Matthew
Brendan R. Wehrung
> Brendan,
>
> In the course of its existence, from 1957 to 1991, the Boston Symphony
> Transcription Trust syndicated all the concerts of the Boston Symphony. They
> were sent to hundreds of radio stations in the USA and several abroad. Even
> the Armed Forces Radio and Television Network got a copy! Millions of people
> heard the broadcasts. Probably thousands of airchecks were made of these
> broadcasts. In the light of this, how can you justify your remark? If you
> had been born earlier, you could have taped every one of these broadcasts
> yourself. Some people may have done just that. I may have even met them.
>
> Issuing them on CD required a process whose difficulty is only slightly less
> than that of making peace in the Middle East. Remember that the BSTT tapes
> were made under a specific agreement with the musician's union. That
> agreement did not anticipate that they would ever be commercially issued.
> The BSO does not "own" the absolute right to exploit these broadcasts
> commercially. As I look through my file of e-mails on this project, I note
> that I either received or sent a total of 468 e-mails, dating from Feb. 25,
> 1999, the date on which it was finally decided to go ahead with the project.
> There were many other e-mails that I did not get. Preliminary discussions
> began a full year earlier, in 1998.
>
> If this set sells well, there may be subsequent issues. Hopefully the
> process will be easier and quicker. There are many treasures in the BSO's
> archive and elsewhere.
> ________________________________
The Transcription Trust may have done yoeman work in not only publicising
current performances of the BSO, but providing series on Koussevitzky and
(I think) Munch. What I chide them for is denying that anybody but they
could possibly have an interest in these performances. The Chicago
Symphony recognized a decade ago that the public might pay (and well) for
controlled reissue of Fritz Reiner and others with the CSO. New York
followed, although with less enthusiasm until recently. Boston's reaction
to any interest (aka pirate issues) was "we'll sue your ass", extended to
anybody who even thought about importing pirate BSO discs. Had they, at
any point, indicated recognition that the availability of pirates
indicated an un-met need and *met* that need, as Chicago and New York
eventually did, I wouldn't have said a word.
Brendan
Eric Nagamine
Interesting point about the Fiedler. I wonder why he wasn't included.
Were Pops concerts not broadcast other than on TV?
As to Tubby, the soloist on that Polydor LP was the recently retired
Chester Schmitz.
Hat NYC 62
Chester Schmitz.
-- >>
So this was actually an lp? I only heard it once on the radio. It was
hilarious.
David hattner, NYC
www.northbranchrecords.com
ppa...@mediaone.net
Eleanor Rousevelt narrating. This would de a good coupling with a
Tubby the Tuba recording with Julia Child as she and Mme. Roosevelt
speak with those insufferable and fake, snooty head tones. It would be a
good issue to teach the young how to speak like snobs.
What is really problematic, too, is that WGBH TV hired Julia to
show us the rigors of French cooking *at a time* when a French native chef
who could speak English was considered too damn foreign in the WGBH studio.
Pierre Paquin
"Eric Nagamine" <en...@hawaii.rr.com> wrote in message
news:3B92A5DF...@hawaii.rr.com...
Kevin P. Mostyn
The decision was made early on that the set would contain only performances
by the Boston Symphony, not by the Boston Pops.
Fiedler conducted only a handful of BSO performances. One was considered for
the set, but did not make the final cut.
Boston Pops concerts have been broadcast since 1926, though not
continuously. There are a thousand or more Boston Pops tapes in the BSO's
archive. I was the recording engineer for hundreds of them.
________________________________
Kevin P. Mostyn
To get my real address, remove the spaces and the * from below.
kou*ssy @ l*ns.com
_______________________
Original message follows:
"Eric Nagamine" <en...@hawaii.rr.com> wrote in message
news:3B92A5DF...@hawaii.rr.com...
<snip>
Interesting point about the Fiedler. I wonder why he wasn't included.
Were Pops concerts not broadcast other than on TV?
<snip>
Eric Nagamine
Eric Nagamine
>
> Eric,
>
> The decision was made early on that the set would contain only performances
> by the Boston Symphony, not by the Boston Pops.
>
> Fiedler conducted only a handful of BSO performances. One was considered for
> the set, but did not make the final cut.
>
> Boston Pops concerts have been broadcast since 1926, though not
> continuously. There are a thousand or more Boston Pops tapes in the BSO's
> archive. I was the recording engineer for hundreds of them.
Kevin,
Thanks for the clarification. I know that there was a Fiedler/BSO
recording on RCA of the Dvorak 9th and I saw the rest of the 1970
program on your website. What other type of material did he do in his
BSO appearances?
As to the Pops recordings, are there enough interesting items that
Fiedler, John Williams, and Keith Lockhart didn't do commercially to
warrant a Pops set by the orchestra somewhere down the road?
Kevin P. Mostyn
The BSTT did not do a formal series on Munch. After his death, a few
programs were broadcast as part of the regular BSTT broadcasts, in memoriam.
The Koussevitzky series to which you refer was called "The Art of Serge
Koussevitzky." It was released in 1961 on the 10th anniversary of
Koussevitzky's death. Listening to this series as a teenager changed my
life.
I have uploaded a complete listing of that series. See it at:
http://www.koussevitzky.com/Html/BSTT_ASK.htm
________________________________
Kevin P. Mostyn
To get my real address, remove the spaces and the * from below.
kou*ssy @ l*ns.com
_______________________
Original message follows:
"Brendan R. Wehrung" <ck...@FreeNet.Carleton.CA> wrote in message
news:9mu6kt$dfk$1...@freenet9.carleton.ca...
<snip>
The Transcription Trust may have done yoeman work in not only publicising
current performances of the BSO, but providing series on Koussevitzky and
(I think) Munch
<snip>
Brendan
Kevin P. Mostyn
Here are the BSO-Fiedler conducted works broadcast after 1942.
Beethoven: Symphony Nº 8 {Fiedler}12/16/55 (Symphony Hall)
Beethoven: Symphony Nº 8 {Fiedler}12/17/55 (Symphony Hall)
Bruch: Violin Concerto Nº 1 {Fiedler}8/8/75 [A76-16] (Tanglewood) Borok (vl)
Dvorák: Symphony Nº 9 {Fiedler}12/17/69 [A70-30] (Symphony Hall)
Dvorák: Symphony Nº 9 {Fiedler}8/18/73 [A74-22] (Tanglewood)
Frescobaldi: Toccata {Fiedler}12/16/55 (Symphony Hall)
Frescobaldi: Toccata {Fiedler}12/17/55 (Symphony Hall)
Gershwin: An American in Paris {Fiedler}8/9/74 [A75-16] (Tanglewood)
Gershwin: Concerto in F {Fiedler}8/9/74 [A75-16] (Tanglewood) Wild (pf)
Gershwin: Concerto in F {Fiedler}8/13/76 [A77-17] (Tanglewood) Wild (pf)
Gershwin: Cuban Overture {Fiedler}8/13/76 [A77-17] (Tanglewood)
Gershwin: Porgy and Bess--Suite {Fiedler}8/9/74 [A75-16] (Tanglewood)
Gershwin: Porgy and Bess--Suite {Fiedler}8/13/76 [A77-17] (Tanglewood)
Gershwin: Rhapsody in Blue {Fiedler}8/9/74 [A75-16] (Tanglewood) Wild (pf)
Gershwin: Strike up the Band {Fiedler}8/9/74 [A75-16] (Tanglewood)
Mozart: Notturno in D, K.286 for Four Orchestras {Thomas, Fiedler,
Silverstein, Dickson}10/8-9/72 [A73-42] (Symphony Hall)
Prokofiev: Symphony Nº 1, "Classical" {Fiedler}8/8/75 [A76-16] (Tanglewood)
Rachmaninov: Piano Concerto Nº 2 {Fiedler}8/18/73 [A74-22] (Tanglewood) Wild
(pf)
Rachmaninov: Rhapsody on a Theme of Paganini {Fiedler}12/16/55 (Symphony
Hall) Ciccolini (pf)
Rachmaninov: Rhapsody on a Theme of Paganini {Fiedler}12/17/55 (Symphony
Hall) Ciccolini (pf)
Respighi: Pini di Roma {Fiedler}12/17/69 [A70-30] (Symphony Hall)
Rossini: Semiramide--Overture {Fiedler}8/8/75 [A76-16] (Tanglewood)
Tchaikovsky: Piano Concerto Nº 1 {Fiedler}12/17/69 [A70-30] (Symphony Hall)
Dichter (pf)
Wagner: Die Meistersinger--Prelude {Fiedler}8/18/73 [A74-22] (Tanglewood)
________________________________
Kevin P. Mostyn
To get my real address, remove the spaces and the * from below.
kou*ssy @ l*ns.com
_______________________
Original message follows:
"Eric Nagamine" <en...@hawaii.rr.com> wrote in message
news:3B92E3CF...@hawaii.rr.com...
<snip>
Thanks for the clarification. I know that there was a Fiedler/BSO
recording on RCA of the Dvorak 9th and I saw the rest of the 1970
program on your website. What other type of material did he do in his
BSO appearances
<snip>
Eric Nagamine
ppa...@mediaone.net
Interesting list.
What about the super Brahms Academic Fest. Overture with Fiedler/BPO,
around the mid 60's> It was an incredible performance.
Pierre
"Kevin P. Mostyn" <notmyrea...@nowhere.com> wrote in message
news:BKBk7.42414$sa.23...@news1.rdc1.sfba.home.com...
> Eric,
>
> Here are the BSO-Fiedler conducted works broadcast after 1942.
>
> Beethoven: Symphony Nş 8 {Fiedler}12/16/55 (Symphony Hall)
> Beethoven: Symphony Nş 8 {Fiedler}12/17/55 (Symphony Hall)
> Bruch: Violin Concerto Nş 1 {Fiedler}8/8/75 [A76-16] (Tanglewood) Borok
(vl)
> Dvorák: Symphony Nş 9 {Fiedler}12/17/69 [A70-30] (Symphony Hall)
> Dvorák: Symphony Nş 9 {Fiedler}8/18/73 [A74-22] (Tanglewood)
> Frescobaldi: Toccata {Fiedler}12/16/55 (Symphony Hall)
> Frescobaldi: Toccata {Fiedler}12/17/55 (Symphony Hall)
> Gershwin: An American in Paris {Fiedler}8/9/74 [A75-16] (Tanglewood)
> Gershwin: Concerto in F {Fiedler}8/9/74 [A75-16] (Tanglewood) Wild (pf)
> Gershwin: Concerto in F {Fiedler}8/13/76 [A77-17] (Tanglewood) Wild (pf)
> Gershwin: Cuban Overture {Fiedler}8/13/76 [A77-17] (Tanglewood)
> Gershwin: Porgy and Bess--Suite {Fiedler}8/9/74 [A75-16] (Tanglewood)
> Gershwin: Porgy and Bess--Suite {Fiedler}8/13/76 [A77-17] (Tanglewood)
> Gershwin: Rhapsody in Blue {Fiedler}8/9/74 [A75-16] (Tanglewood) Wild (pf)
> Gershwin: Strike up the Band {Fiedler}8/9/74 [A75-16] (Tanglewood)
> Mozart: Notturno in D, K.286 for Four Orchestras {Thomas, Fiedler,
> Silverstein, Dickson}10/8-9/72 [A73-42] (Symphony Hall)
> Prokofiev: Symphony Nş 1, "Classical" {Fiedler}8/8/75 [A76-16]
(Tanglewood)
> Rachmaninov: Piano Concerto Nş 2 {Fiedler}8/18/73 [A74-22] (Tanglewood)
Wild
> (pf)
> Rachmaninov: Rhapsody on a Theme of Paganini {Fiedler}12/16/55 (Symphony
> Hall) Ciccolini (pf)
> Rachmaninov: Rhapsody on a Theme of Paganini {Fiedler}12/17/55 (Symphony
> Hall) Ciccolini (pf)
> Respighi: Pini di Roma {Fiedler}12/17/69 [A70-30] (Symphony Hall)
> Rossini: Semiramide--Overture {Fiedler}8/8/75 [A76-16] (Tanglewood)
> Tchaikovsky: Piano Concerto Nş 1 {Fiedler}12/17/69 [A70-30] (Symphony
Brendan R. Wehrung
>
> The BSTT did not do a formal series on Munch. After his death, a few
> programs were broadcast as part of the regular BSTT broadcasts, in memoriam.
>
> The Koussevitzky series to which you refer was called "The Art of Serge
> Koussevitzky." It was released in 1961 on the 10th anniversary of
> Koussevitzky's death. Listening to this series as a teenager changed my
> life.
>
> I have uploaded a complete listing of that series. See it at:
>
> http://www.koussevitzky.com/Html/BSTT_ASK.htm
> > ________________________________
> Kevin P. Mostyn
>
Immediately bookmarked! There's a tragedy in this series, if I have the
story right. The acetates were done privately, and despite lawsuits
remained in private hands. At Some point the owners quarelled and the
originals were divided, with the other receiving a tape where he didn't
get the acetate. One of the owners lived in Oakland Hills, where his
collection was consumed by the famous wildfire. Now, perhaps you see why
I'm interested in Koussevitky material making it to CD, before the extant
acetates and surviving tapes decay. Your list amply documents what we
could look forward to, and what AS disc so badly botched in remastering.
(NOt that this is an issue now that AS discs are bronzing, at least mine
are.)
If I have the story wrong, please let us know.
Brendan
Kevin P. Mostyn
You have mixed a couple of stories together. First, the "Art of Serge
Koussevitzky" was produced entirely from NBC and ABC "line-check"
transcription disks belonging to the Boston Symphony and deposited at the
Library of Congress circa 1959. The disks are still there. Some of them were
used for the BSO Centennial CD set. I catalogued them for the Boston
Symphony in the mid-1970s. They were stored at that time in the basement of
the L.O.C. You can imagine the way my eyes bugged out when I was led into
the basement by Mr. Smart of the L.O.C. As far as the eye could see, there
was row after row after row of 16" transcription disks. Hundreds of
thousands of them. Uncatalogued! The collector in me started to tremble and
I became dizzy. They subsequently have been moved to a location in Maryland.
Unfortunately, many of the BSO disks were glass-based and were broken in the
various moves. I remember with great pain when Mr. Smart took out a glass
disk so that we could play it and it broke in his hands. Not his fault, he
was very experienced and careful; glass disks are just impossibly fragile.
The L.O.C. made safety tapes of all the disks from Boston (the ones that
survived the trip from Boston to Washington) in 1959. These tapes still
survive. Part of the Bartok Concerto for Orchestra that is in the Centennial
set comes from these tapes. The BSO's glass disks were destroyed in handling
at the L.O.C. sometime after 1959, in fact, sometime after the mid-1970s,
because I played them at that time while cataloguing the collection. The
rest of the Bartok in the Centennial set comes from another partial set of
disks recently discovered in the L.O.C. The L.O.C. situation reminds me of
that scene in "Raiders of the Lost Ark." The scene where the Ark of the
Covenant is crated up, and then moved into a immense secret government
warehouse, piled to the sky with thousands of similar crates, never to be
seen again. There are unknown treasures at the L.O.C. on a vast scale. When
Ward Marston went to the L.O.C. to transfer some 16" disks for the BSO
centennial set, he used an inferior set of disks for the Bruno Walter Haydn
Oxford symphony. After he returned home, he called me to tell me that the
work would not be used, as the quality of the acetates was bad. After some
questioning, I discovered that he had been supplied by the L.O.C. with some
alternate disks, as they could not find the BSO's disks! Incensed, I
searched through my files and gave Ward the actual L.O.C. shelf number for
the BSO's disks. He then called the L.O.C., who (quite embarrassed) then
found the disks! These were much better, and you can hear them in the CD
set. In fact, you can hear a selection from them right now on the BSO's web
site.
The AS Disk CDs were made partly from airchecks of the Art of Serge
Koussevitzky series, and partly from other private sources. The source
material was savagely filtered by AS Disk (Mr. Andreas Scarduelli.) All of
the source material survives, so nothing is lost if the AS Disks rot away.
That of course doesn't help you! E-mail me off list for a possible solution.
As for the tragedy to which you refer, that was another situation. There
were a number of 16" disks from other sources; line checks, private
recordings, air checks, ABC disks, V-Discs, Armed Forces disks, etc. Then
the rest of your story more-or-less applies:
"The acetates were done privately, and despite lawsuits
remained in private hands. At Some point the owners quarelled and the
originals were divided, with the other receiving a tape where he didn't
get the acetate. One of the owners lived in Oakland Hills, where his
collection was consumed by the famous wildfire."
The owner who lived in the house in the Oakland Hills and whose collection
was consumed by the famous wildfire was a Mr. Kevin P. Mostyn. The other
owner was Mr. Edward Denton Young, who has subsequently disappeared. He is
rumored to have gone through a difficult period of mental strain and is
thought to be working as a custodian at a church. If anyone knows his
whereabouts, please let me know. Several people are looking for him (on a
friendly basis.) He prepared and circulated to many radio stations in the
1960s and 1970s, a program called "The Koussevitzky Legacy." The 50-odd
programs contained all of the commercially issued Koussevitzky recordings,
with commentary and interviews of persons we knew or played for
Koussevitzky.
As for the Koussevitzky broadcasts, the Art of Koussevitzky was produced by
WGBH and the BSTT in 1961 on the tenth anniversary of Koussevitzky's death,
as a 39 week radio series, with a later 40th program as a special . Only 39
programs were made for the Art of Koussevitzky, as 39 weeks was (and is) a
standard broadcast cycle.The 40th program was prepared for the BSTT by your
humble servant in 1976, on the 25th anniversary of Koussevitzky's death.
There are *many* more surviving Koussevitzky broadcasts and private
recordings. I'll post the lists eventually on the web site, but right now
you could look at the ARSC Journal, Vol. 21, Nos. 1 & 2, 1990, where the
aforementioned Edward Young published a list of what was known to exist in
1990. More have turned up subsequently.
Brendan, this is probably more than you wanted to know, but I hope I have
answered your request: "If I have the story wrong, please let us know."
________________________________
Kevin P. Mostyn
To get my real address, remove the spaces and the * from below.
kou*ssy @ l*ns.com
_______________________
Original message follows:
"Brendan R. Wehrung" <ck...@FreeNet.Carleton.CA> wrote in message
news:9mv4ed$op9$1...@freenet9.carleton.ca..."
<snip>
Eric Grunin
<fga...@mediaone.net> wrote:
>I suppose that if we-all were to have been consulted the set
>would be coming out in October 2005, but, instead of "Duke
>Bluebeard's Castle," why-oh-why not Ozawa's "L'Enfant et les
>sortilèges" from 1974, with de Gaetani, D'Anna Fortunato, et al.?
True: I was there & I'll never forget it...
Tom Flynn
and Joseph Sliverstein are recognized. Both made important
contributions to the BSO's history.
I was surprised that Bernstein did not merit a more substantial
sampling. Although he is more associated with Tanglewood than
Symphony Hall, I would have thought that he would have rated more than
one piece despite it being a fascinating selection.
However, the real surprise, actually more of a disappointment, are the
Munch selections. I thought the set was supposed to feature works not
recorded by the conductors. Munch commercially recorded all but the
Faure. Even the Faure was available for a time on M&A as part of a 2
CD set of Faure and Franck. For that matter he recorded La Valse 3
different times with the BSO!
Are his radio broadcasts so bad that this is all that was deemed
appropriate to issue? I find that hard to believe with more than a
decade of broadcasts to select from. I would have thought that there
were performances of the Honegger 3rd Symphony, Faure Requiem and
Berlioz Te Deum some place in the archives worthy of consideration.
He never recorded these pieces, except the 3rd which appears on
Multisonic from a pirate recording from a Prague performance of the
BSO. If the BSO were going to just re-issue pieces he had previously
recorded, why did not they issue the Piston and Martinu 6th
Symphonies? They were written expressly for the BSO and Munch as well
as showcase the members of the Symphony. They will also never be
issued on CD by RCA/BMG.
Tom
Kevin P. Mostyn
The selections chosen by the committee for Munch were over-ruled by a living
conductor, who insisted on the final repertoire. The original selections did
not duplicate any of Munch's commercial BSO recordings.
________________________________
Kevin P. Mostyn
To get my real address, remove the spaces and the * from below.
kou*ssy @ l*ns.com
_______________________
Original message follows:
"Tom Flynn" <twtf...@aol.com> wrote in message
news:6ec55d13.01090...@posting.google.com...
<snip>
REG
already know he's on the side of Peter
<ppa...@mediaone.net> wrote in message
news:p3zk7.3063$e55.2...@typhoon.ne.mediaone.net...
Matthew B. Tepper
> The selections chosen by the committee for Munch were over-ruled by a
> living conductor, who insisted on the final repertoire. The original
> selections did not duplicate any of Munch's commercial BSO recordings.
So one may suspect it's somebody who wanted that repertoire for himself.
Matthew B. Tepper
news:nxWk7.8061$xA5.1...@typhoon.nyc.rr.com:
> I think it's time for Bill Clinton to do Peter and the Wolf....but we
> already know he's on the side of Peter
Well, I'd rather possess that recording than Lady Thatcher's of Copland's
"A Lincoln Portrait"!
Bob Harper
"Matthew B. Tepper" wrote:
And I'd take the latter, which I guess pretty well summarizes the difference
between you and me, Matthew :-)
Bob Harper
Bob Harper
"Matthew B. Tepper" wrote:
Who IS this guy ('living conductor'), and why does he have the power to
determine repertoire/conductor? Pardon my French, but what a bunch of crap!
Bob Harper
Tom Flynn
Kevin,
Thanks for the clarification.
Tom
Brendan R. Wehrung
Maybe he's the next director of the BSO and the Board (having made their
secret decision) doesn't want to p**s him off.
Brendan
Don Drewecki
As a followup to Kevin's detailed notes, I have seen a few BSO
broadcasts listed in the Toscanini Legacy collection at the NYPL.
--
Don Drewecki
<dre...@rpi.edu>