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trained-pianist
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« Reply #45 on: 19:15:09, 04-03-2007 » |
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Why did Schwarzkopf agree to do something like that (to sing high notes).
I also don't believe he ever did splicing.
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oliver sudden
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« Reply #46 on: 20:32:02, 04-03-2007 » |
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Schwarzkopf's husband Walter Legge was the producer of the recording with Flagstad. Schwarzkopf had already helped Flagstad with the top notes in a recording of the big Act II love duet conducted by Karl Böhm in 1949. So her participation was planned from the start.
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trained-pianist
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« Reply #47 on: 20:46:52, 04-03-2007 » |
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Would it be easier to record Schwartzkopf instead?
May be the problems with my washing machine make me especially slow today. Sorry oliver.
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oliver sudden
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« Reply #48 on: 21:24:10, 04-03-2007 » |
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Schwarzkopf had a different voice from Flagstad's (part of the reason her high notes were useful) so wouldn't have made sense in the complete role. On the other hand as she said: 'top notes usually sound the same in all sopranos. It is under the top where the voice begins. Even I can't hear my voice in this recording' (talking about the 1949 recording). Flagstad was born in 1895 and the Furtwängler Tristan is from 1953. So she wasn't as young as she once had been. But then, who is?  |
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Ron Dough
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« Reply #49 on: 22:25:15, 04-03-2007 » |
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....she wasn't as young as she once had been. But then, who is? Merlin, in The Sword in the Stone, by T.H. White, apparently. He's living his life backwards, getting younger every day (though I rather suspect that the exact moment of his anti-genesis may not have been completely considered by his creator....a rather alarming picture strikes the mind...) |
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oliver sudden
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« Reply #50 on: 23:05:46, 04-03-2007 » |
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Thanks for sharing that with us Ron...  |
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Daniel
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« Reply #51 on: 23:20:49, 04-03-2007 » |
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....she wasn't as young as she once had been. But then, who is? Merlin, in The Sword in the Stone, by T.H. White, apparently. He's living his life backwards, getting younger every day (though I rather suspect that the exact moment of his anti-genesis may not have been completely considered by his creator....a rather alarming picture strikes the mind...) As is the main character in Time's Arrow by Martin Amis if I remember correctly. It is a long time since I read it but at the time I was mesmerised the cleverness and poignancy of it as he heads uncomprehendingly backwards through arguments and events in his life gradually understanding less and less as enters childhood for the first time. (Not much different than going forwards then). |
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oliver sudden
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« Reply #52 on: 23:34:04, 04-03-2007 » |
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(Not much different than going forwards then). Except that, as one of the Seinfelders put it, you end as an - - er, Michael, are we allowed to use the O-word? |
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John W
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« Reply #53 on: 00:48:34, 05-03-2007 » |
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Mike ain't here,
Orgasm? Yeah I expect so.
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smittims
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« Reply #54 on: 11:23:28, 05-03-2007 » |
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I think the Schwarzkopf-Flagstad substitution was permissible,as it involved only two short notes,and it was done only to avoid retakes as,although Flagstad could sing a top c she was able to sing the rest of the scene better ,feeling relaxed.
Elisabeth Schumann sings two or three notes of Lotte Lehmann on the famous 1933 'Rosenkavalier' and no-one seemed to mind.
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oliver sudden
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« Reply #55 on: 11:35:54, 05-03-2007 » |
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I think the success of the recording over the years very much bears it out as having been permissible...  Since patches can be a lot shorter nowadays a corresponding case probably wouldn't even arise. Especially if one could draw on Barrington-Coupe's editing skills. (What an appropriate second half of a surname in that case!) |
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smittims
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« Reply #56 on: 11:46:11, 05-03-2007 » |
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one of my favourites is the insertion of a missing horn phrase into the Barbirolli Mahler 5, the absence of which was discovered only after the LPs had been issued and the conductor had died.
When the CD remastering was planned the producer got the original horn player to record the phrase in the same hall,and it was spliced in. I think that is permissible also.
I'm less happy about the recording of the Grieg Piano concerto with a reproducing piano playingthe roll recorded by Percy Grainger,and the modern orchestra accompanying,especially as Grainger gave a better performance on a gramophone disc wit Stokowski conducting.
The more I listen to piano rolls the less satisfied I am thata they are true recordings of the pianist's performance. Some of Rachmaninov's are too machine-like for that,I think.
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FisherMartinJ
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« Reply #57 on: 21:33:37, 05-03-2007 » |
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Smittims: do I recall correctly that an even later reissue of the Barbirolli Mahler 5 (GROC??) went back to the original LP version, i.e. without the horn solo? Now how weird is THAT??  Perhaops we can expect some of the above-mentioned classic Wagner recordings to be reissued sans Schwarzkopf - now that would be authenticity! |
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'the poem made of rhubarb in the middle and the surround of bubonic marzipan'
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John W
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« Reply #58 on: 17:14:58, 18-03-2007 » |
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Hi, Yesterday I found a Joyce Hatto LP (just 50p) in the local Age Concern shop! So, do I actually have a genuine Joyce Hatto recording from over 40 years ago? It's SAGA XID5045 featuring works of Rachmaninov. Piano Concerto No 2 (with Hamburg Pro Musica conducted by George Hurst) and also solos Preludes in C sharp Minor Op 3 No 2, and flat Op 23 No 6. The record is mono, there's no date printed on the label, there's no matrix number or anything near the run-off groove so don't know date(s). The sleeve notes are dated 1965 but I wonder if the recording is some time before that (I have other SAGA LP's in the 5000 series from 1960, 1963 and some are in stereo). I expect back then Joyce Hatto was not ill and was playing quite well and making a few recordings and performing at concerts? Anyway if anyone wants to hear some of this I've uploaded mp3s at our sendspace site : the Prelude in C sharp minor at http://www.sendspace.com/file/ftbt90first movement of the concerto at http://www.sendspace.com/file/bmp4uwJohn W |
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richard barrett
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« Reply #59 on: 17:24:17, 18-03-2007 » |
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Hamburg Pro Musica conducted by George Hurst Well, George Hurst certainly seems to be for real: http://www.canfordconductors.com/course/biographies.htmand an orchestra under that name does seem to have made recordings for several different labels. So maybe you have indeed found a genuine Hatto. |
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