Oh a thread about Furty and subjective truth. How fascinating.
And..."I was never frightened of him or intimidated by him. He could be intimidating to others but to me he was warmer. Music was everything to him. As teacher, as conductor, he was supremely articulate. Clarity, transparency, diction, crisp articulation - these were his musical priorities. He was a great delineator of scores. He would say, 'Why is a note written if it's not heard?' For him every note was to be heard. We had wonderful sessions together.... We had endless conversations and two-piano sessions. He was a brilliant pianist, even at his age. I studied all the Beethoven concertos with him. It was an unbelievable experience."
Interesting perspectives. He and Karajan got on fabulously too yet you wouldn't have thought they would. When an interviewer said to Karajan that Klemperer once said Szell was" a machine but a very good machine", Karajan firmly retorted,". .. He always gave me his time. He worked through my entire piano repertoire with me at two pianos. This went on for two years, in various locations. He always played the orchestra parts - from memory, by the way, and brilliantly! At least twelve Mozart concertos I performed for him, all five Beethoven, Schumann, the two Brahms, and the second of Bartók..... Szell was a sculptor, a renderer, a formulator of phrases, and with the word formulator I already imply: a master of musical diction. What Harnoncourt formulated very aptly in his book, Music as Speech, I'd already heard ten years earlier from Szell."
"No, you cannot really say that. He was a man with a full heart. When you had a chance to meet him in his house with all his guests, he was a most charming and intelligent man. No, I can't understand that remark."
Victor Borge was a mere mechanical time-beater (* slaps Knorf around the face). James Last, on the other hand, put himself in the shoes of the composer speaking to the audience. Borge reads off in strict dictation like a stenographer.Oof. I can't disagree that Victor Borge had access to the deepest and greatest and truest essential musical truths.
Maybe I can't be seen.No, it is Merl's...i find it quite fitting...
I dunno, have you ever heard Shura Gehrman's Schubert Lieder? Sounds like someone's trapped his fingers in a door. Lol. I don't do lieder anyway but that is painful. I have it on that Brilliant Classics Schubert box. I once used it to clear the house after a party. Worked a treat.We can all agree, I'm sure, that Florence Foster Jenkins plumbed the depths of all music she performed....her rendition of "Queen of the Night" aria revealed the profound philosophical truth of Mozart's creation!! lol!!
You know, Heck, I never did know when the Szell Tchaikovsly 4 was recorded so I looked it up. Apparently it was recorded on the 11th & 13th September 1962 at Walthamstow Assembly Hall, London. I always thought it was just before he died in '70 but apparently its much earlier than that (it does sound more early 60s than late 60s tbh). Apparently the LSO liked playing for Szell a lot. There are quite a few references to his guest conductor performances in London. If I recall it's even mentioned in the Karajan books (Karajan had a lot of time for Szell, found him a "deeply honourable man" and wouldn't hear a bad word about him). If you haven't heard that Tchaikovsky you, Heck, you should. It's a fine performance. Right up your street.When was this Szell/LSO Tchaik 4 recorded??