![]() Later in the movement the chimes bring in snowflakes dancing around the city. The closing Great Gate of Kiev includes a gong at about 30 seconds into it that sounds like it must have been rung by Quazimodo. Stokowski did not orchestrate Tuileries nor Marketplace at Limoges because he believed they were written by Rimsky-Korsakov and not Mussorgsky. This is apparent from the outset as the promenade is announced by the lower strings rather than a trumpet. I have long argued that Stokowski's transcription is not necessarily better than Ravel's but it is more Slavic. That I am certain is a result of Stokowski's sense of relief in the orchestra, and not a gimmick in the studio (it was live). That phrase seems to pass around the orchestra, swirling and singing. (Might we hope for a release of all of those items, too? Could the cover include the wonderful portrait of Stokowski that was featured on the LP?) Stokowski has an effect with the melody that I have never heard before or since. ![]() It, along with the rest of the program, was part of his original London Symphony concert. It was taken from a live concert celebrating Stokowski's 60 th Anniversary Concert with the London Symphony in 1973. ![]() The Meistersinger Prélude is not from the studio sessions that are on the rest of the disc. The Ride swirls you along, the Forest Murmurs are haunting. Every emotion is wound tight as a drum and let loose in a torrent. Unfortunately that is not to be, but this disc gives an idea just what we might have had. Listening to this disc of excerpts from the Ring makes me wish he had done a cycle. Sylvan didn't hesitate to say that he thought Stokowski wished he had the chance to do more opera. I once asked Sylvan Levin if he thought that Stokowski had any regrets. I have spent a lot of time re-listening to these discs, especially the Wagner. While earlier releases are stereo, these are more. Listening to these discs you can now hear why Stokowski was excited by the whole Phase Four technique. He was intimately involved in the recording process from the days of acoustic 78s up to late stereo (he just missed the digital age). Stokowski once said that one day it would be possible to make recordings that are better than live performances. In fact, there is more air around all the sound now, not like the cheaper, earlier releases. ![]() This adds a few seconds to each track, but also adds more of the music as it fades (while not exclusively his, this was a Stokowski trademark and part of his sound). Another thing the engineers have done is to keep the tape rolling at the end of each piece. These recordings sound better than the LPs and involve you completely in Stokowski's Sound. I have listened to all of these discs, the Wagner several times. ![]() If you want to wallow in beautiful music, especially Wagner, snap these up. If you have been disappointed in the past, that time is gone. I am going to help those of you who choose to scan articles by letting you read the last line now. Still the Schéhérazade was better than a remastered issue available in a 4-disc box set from the Lincoln Center that made the performance actually sound dull.Īll this by way of putting these discs into a perspective. Those sounded better than the Weak end Classics, but the latter was really coarse. London did issue the Debussy La Mer on a medium priced disc and Schéhérazade on another (both with other couplings). That issue of the Wagner music was particularly unflattering. Those remasterings were superior to the Weekend Classics series issued in this country. Those discs were available only in Japan but a few found their way over to me. It first appeared from Japan, licensed from Decca and issued on the King label. Most of this material has been previously issued. ![]()
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