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Subject: Re: Favorite non-opera vocal works?
From: donald kane <[log in to unmask]>
Reply-To:donald kane <[log in to unmask]>
Date:Tue, 27 Feb 2018 11:30:24 -0500
Content-Type:text/plain
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If the tape actually existed, wouldn't it have been retrieved by
this time somehow, considering the interest it has always aroused?
How did HMV come to need the the miserable Maharajah's money?
Should the composer of so significant a composition have agreed
to its being premiered at a private recording session?   And, those
questions aside, if Strauss sought to match wartime experience with that
of another soprano, why did it have to be Flagstad; there were many
others in the same boat, most notably, Tiana Lemnitz.  She, along
with the Berlin Philharmonic, and Sir Thomas Beecham, at a public
performance, would have been the ideal way to introduce VIER LETZE
LIEDER, subsequently reuniting them for a history making studio
session.

dtmk



On Tue, Feb 27, 2018 at 10:13 AM, Donald Levine <[log in to unmask]> wrote:

> The Maharaja is long dead.  Has anyone ever tried to track the tapes?
>
> Donald
>
> On Sun, Feb 25, 2018 at 3:03 PM, Maxwell Paley <[log in to unmask]> wrote:
>
> > The engineering problems on the Flagstad/Furtwängler “Vier Letzte Lieder”
> > are, as the lawyers say, with malice afore thought.
> >
> > The Maharajah of Mysore (not making this up), major “angel” without whom
> > Walter Legge’s Philharmonia Orchestra would never have come into being,
> > paid a fortune to have a high quality studio recording made. He
> stipulated
> > that he have the only copies and all others be destroyed. To protect the
> > value, he also stipulated that the BBC not broadcast or record the
> premier
> > performance.
> >
> > What exists comes from someone having illicitly snuck some form of low
> > quality recording equipment into one of the rehearsals but having to keep
> > recorder and microphone hidden.
> >
> > At least that’s how it was told to me.
> >
> > The best reconstruction of the poor sound that I’ve heard is the
> Testament
> > issue.
> >
> > Max Paley
> >
> > Sent from my iPhone
> >
> > > On Feb 25, 2018, at 13:08, Vesna Danilovic <[log in to unmask]>
> wrote:
> > >
> > > Way too many to mention them all, but if I were to single out only a
> few
> > > then here it goes (with loads of extra credits, I hope)...
> > >
> > > Schubert, WINTERREISE - love some tenor renditions, but still prefer it
> > in
> > > the baritone voice - favorite recordings: Gerhard Hüsch, Hans Hotter
> > > (mid-50s version with Gerald Moore), Heinz Rehfuss, Christian Gerhaher
> > >
> > > Delius - THE DREAM OF GERONTIUS - 1950s live performance in Rome with
> Jon
> > > Vickers, Barbirolli conducting; also love Sargent's 1st version with
> > Heddle
> > > Nash, Ripley and Noble, and a few later recordings for individual
> singers
> > > (Baker's Angel above all) or conducting, but overall the
> > Vickers-Barbirolli
> > > reading would have to be my desert island choice
> > >
> > > Bach, ST. MATTHEW PASSION - I love quite a few different
> interpretations
> > > from the classic Klemperer to Furtwangler; the first time I heard it
> was
> > on
> > > the live 1950 recording from Vienna, memorably with Kathleen Ferrier
> and
> > > Irmgard Seefried, Karajan conducting, and it remains my sentimental
> > favorite
> > >
> > > Grechaninov's CREDO / THE CREED - a very old and obscure recording from
> > > 1931 credited to the Russian Metropolitan Church Choir in Paris;
> although
> > > my mom was not Russian, this beautiful choral piece somehow evokes
> > > nostalgia in me and I regularly listen to it every Mother's Day
> > >
> > > Richard Strauss, FOUR LAST SONGS - Lisa della Casa and Sena Jurinac.
> > What a
> > > shame that the Flagstad/Furtwangler recording suffers from serious
> > > engineering problems.
> > >
> > > Vesna
> > >
> > >
> > > On Sun, Feb 25, 2018 at 12:46 PM, Rich Lowenthal <
> > [log in to unmask]>
> > > wrote:
> > >
> > >> This has come up before but it's been quiet and I thought I would
> raise
> > it
> > >> again: what are your favorite non-opera vocal works, both individual
> and
> > >> choral? (Feel free to choose oratorios or "dramatic legends," even if
> > they
> > >> have been staged, since everything seems to get staged eventually...)
> > For
> > >> extra credit, name favorite recording(s).
> > >>
> > >> My own favorites are "Vier letzte lieder" (either Norman or Della
> Casa)
> > >> and "The Dream of Gerontius" (Britten recording with Peter Pears). I
> > must
> > >> admit to an almost irrational affection for Elgar's choral works.
> > >>
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