I KNOW I'LL REGRET IT, BUT I WANT TO TRY TALKING
ABOUT WHAT I THINK OF AS MUSICAL "AUTHENTICITY"
(Which has nothing to do with the kind usually talked about)
EXCERPT I
[2:47] New Philharmonia Orchestra, Leopold Stokowski, cond. Decca 'Phase 4', recorded in Kingsway Hall, London, September 1965
EXCERPT II
[4:49] Orchestre de la Suisse Romande, Leopold Stokowski, cond. Decca 'Phase 4', recorded in the Grand Théâtre, Geneva, Sept. 15-16, 1968
Many (most?) people, when they think of it, think of the great love theme --
[2:48] Berlin Philharmonic, Herbert von Karajan, cond. DG, recorded in the Jesus-Christus-Kirche, Oct. 12-13, 1966
But that's not where we're heading. This theme is kind of foolproof, can't-miss. It's hard to imagine any conductor misfiring with it. -- Ed.
by Ken
Sometimes it's intriguing to try to retrace a train of thought, back to its point of origin, to maybe see how it was hatched, and then how it morphed through its wanderings. As it happens, in this case -- the case of the specific part of the "odd path" I referenced above, from Excerpt I to Excerpt II -- the pathway, if not the actual thought collision, is easy to identify: On a Stoky "compilation" CD that Decca put out, they're the first and last of the 17 tracks.
HOW EXACTLY DID THOSE TRACKS AT OPPOSITE
ENDS OF A 17-TRACK CD CRASH INTO EACH OTHER?
ABOUT WHAT I THINK OF AS MUSICAL "AUTHENTICITY"
(Which has nothing to do with the kind usually talked about)
What is this distinguished-looking fellow up to? (FWIW,
note that whatever it is, he's doing it without a baton.)
note that whatever it is, he's doing it without a baton.)
EXCERPT I
[2:47] New Philharmonia Orchestra, Leopold Stokowski, cond. Decca 'Phase 4', recorded in Kingsway Hall, London, September 1965
EXCERPT II
[Don't overboost the volume! Note that Excerpt II starts 'p' (soft); even the crescendo is only to 'poco più f ' (a little louder).]
[4:49] Orchestre de la Suisse Romande, Leopold Stokowski, cond. Decca 'Phase 4', recorded in the Grand Théâtre, Geneva, Sept. 15-16, 1968
NOTE: Excerpt II is so startling in both conception and scoring, I've copied more of the score for when we hear it again. -- Ed.A NOTE ON THE WORK THAT 'EXCERPT II' COMES FROM
Many (most?) people, when they think of it, think of the great love theme --
[2:48] Berlin Philharmonic, Herbert von Karajan, cond. DG, recorded in the Jesus-Christus-Kirche, Oct. 12-13, 1966
But that's not where we're heading. This theme is kind of foolproof, can't-miss. It's hard to imagine any conductor misfiring with it. -- Ed.
by Ken
Sometimes it's intriguing to try to retrace a train of thought, back to its point of origin, to maybe see how it was hatched, and then how it morphed through its wanderings. As it happens, in this case -- the case of the specific part of the "odd path" I referenced above, from Excerpt I to Excerpt II -- the pathway, if not the actual thought collision, is easy to identify: On a Stoky "compilation" CD that Decca put out, they're the first and last of the 17 tracks.
HOW EXACTLY DID THOSE TRACKS AT OPPOSITE
ENDS OF A 17-TRACK CD CRASH INTO EACH OTHER?
