At about the same time, "Old 8H" (formerly 8H Haggis) bowed out of
rec.music.classical.recordings citing concerns about having offended
others
with a posting.  Sadly, I'm not aware of any n.g. where he's currently
posting.

Regards,

Alan Spaeth
Systems Development Coordinator
Bogle & Gates P.L.L.C.
(A Professional Limited Liability Company)
Portland, Oregon USA
(Opinions expressed are not necessarily those of Bogle & Gates P.L.L.C.)


______________________________ Reply Separator
_________________________________
Subject: [furt-l] old8h
Author:  "nick hoffland" [SMTP:devilthing@...] at Washington
Date:    7/29/98 7:01 AM


hi
would anyone know of any other discussion lists that old8h currently
frequents? i'd like a dose of his stuff now and then.

also, a very long time ago, Bradleigh Stockwell wrote: "I assume this
List is already familiar with "His Master's Legge," "The
Furtwangler Umbrellas," and "Corragio, Maestro" anecdotes and the
stories musicians have told about figuring out his idiosyncratic baton
technique."

would like to hear about these please, mr stockwell!


thanks very much


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On Wed, 29 Jul 1998 07:01:18 PDT, you emailed:

>would anyone know of any other discussion lists that old8h currently
>frequents? i'd like a dose of his stuff now and then.

Old B-H Haggis left this list after someone offended him. It was all rather
sudden and I think we've tried to coax him back to the fold.

Neil
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For those who give serious thought to the thorny questions of ascribing and
evaluating degrees of guilt among inhabitants of totalitarian states, I call
attention to a soon-to-be published book by the cultural historian Peter Gay,
reviewed by the great American historian of Germany and things German, Gordon
Craig, in The NY Review, Aug. 13, 1998:

Peter Gay, "My German Question: Growing up in Nazi Berlin" (Yale U. Press, to
be published in October).

According to Craig, Gay "describes the experience of growing up on Berlin as a
child of a liberal and largely assimilated Jewish family in the first six
years
of Hitler's dictatorship and what the lasting effects of this experience
were.
In telling it, Gay, who escaped with his family to the United States in 1939,
betrays a recurring exasperation with the many people who are apparently
convinced that any Jew who did not leave Germany immediately after Hitler's
accession was either a fool or a coward, and who underestimate the forces,
both
material and psychological, that militated against emigration, as well as (and
this is often forgotten) the impossibilility of predicting, at any time before
1938, what the Nazis intended to do about the Jews when the Nazis did not know
themselves.  'After spending years of pondering this matter,' Gay writes, 'I
remain convinced that our critics have never quite understood our dilemmas in
the 1930s; most of them never even took the trouble to understand them.'"

Craig concludes: "Not the least interesting part of his moving book, a book
that he says is the 'story of a poisoning and how I dealt with it,' is the
account of his personal Vergangenheitsbewältigung--the process by which he
came
to terms with his own past."

A book worth reading, I would think.

Cheers,

David

David Hamilton
New York City
davidham@...
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hi
would anyone know of any other discussion lists that old8h currently
frequents? i'd like a dose of his stuff now and then.

also, a very long time ago, Bradleigh Stockwell wrote: "I assume this
List is already familiar with "His Master's Legge," "The
Furtwangler Umbrellas," and "Corragio, Maestro" anecdotes and the
stories musicians have told about figuring out his idiosyncratic baton
technique."

would like to hear about these please, mr stockwell!


thanks very much


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I do NOT have the Opera d'Oro issue of the 1950 LaScala Furtwangler
RING, but I do have several other Opera d'Oro issues (including a famous
Caballe/Vickers NORMA, and some other things).  I find the sound quite
variable on those issues.  From my listening its seems that the cedar
process has been used in some of these issues to remaster them, and not
always to good effect. While some surface noise, etc., has been eliminated
I do not find that the sound is always "improved."   As I say, I have not
heard the Opera d'Oro edition,so I can't judge that issue, but I do know
that the Music and Arts issue comes with the blessing of the Furtwangler
estate and from transcriptions which are as good as (and in my opinion
slightly better than) previous issues. It is also reasonably priced. I have
the Fonit Cetra and Virtuoso releases, as well; in comparing them, it seems
that Virtuoso may be a copy of the Fonit Cetra--I don't detect much
difference. With the M & A release I DO  hear a slight improvement in the
sound at certain points, although it is generally minor.
      I hope this discussion will elicit comment from some of the audio
specialists on this list. Certainly, if the Opera d'Oro issue is in BETTER
sound most of us might re-buy it; but permit me, based on some uneven past
experience, to raise a doubt.
Dr. Boyd D. Cathey
N. C. Department of Cultural Resources

      The opinions stated above are my own and do not necessarily express
the policies of the North Carolina Department of Cultural Resources.
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Does anyone know how the Opera D'Ore and Virtuoso sets compair?

John


On Tue, 28 Jul 1998, Derek <musiker@...> wrote:

> This is very strange, but listen up.  I brought my Opera D'ORO
> Gotterdammerung to HMV here in Singapore and asked to listen to the M&A.
> Verdict?  The M&A does not have an "open" a mono sound as the Opera d'ORO.
> It is like playing the same thing, but with the M&A with "dolby NR" switched
> on.  I hope you get what i mean.  The Opera d'ORO is to my ears a little
> more satisfying.

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I posted a similar inquiry to this list a few weeks ago regarding a direct
A-B comparison between the M&A release and the Opera D'Oro one.  Glad to
see that there is finally someone out there who has been able to
make such a comparison.  I should add that I received a cordial and prompt
reply from the president of Music and Arts who stated that his company had
actually paid the Furtwangler estate a sum of DM 22,000 to license the
recording.

Any other evaluations of the Opera D'Oro set would be greatly appreciated,
particularly those which address issues of pitch accuracy and (to parrot
the usual _bete noire_ of Old 8H) whether it is in genuine or reprocessed
mono sound.

David M. Banach


On Tue, 28 Jul 1998, Derek <musiker@...> wrote:

> This is very strange, but listen up.  I brought my Opera D'ORO
> Gotterdammerung to HMV here in Singapore and asked to listen to the M&A.
> Verdict?  The M&A does not have an "open" a mono sound as the Opera d'ORO.
> It is like playing the same thing, but with the M&A with "dolby NR" switched
> on.  I hope you get what i mean.  The Opera d'ORO is to my ears a little
> more satisfying.





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Well, Mark I think you want the 1950 La Scala recording.  There's quite a
bit of talk going on about this, but you *have* to hear Flagstad as
Brunnhilde.  The Siegfried is not so bad as reported, and Hagen is good.  I
just ordered this from Music Boulevard http://www.musicblvd.com they were
having a sale, and a US$10 voucher besides, so I ordered Furtwangler's Die
Freishutz and the Ring on Opera d'ORO.  The Ring is selling for US$50++ now,
and will not amount to more than S$90 including postage.  It's in good sound
(by my standards) and as I said lately, I went to HMV and did a comparison
with another pressing on Music and Arts, and the M&A version seemed to be in
more recessed mono sound.  In addition, the Opera D'ORO version doesn't have
funny splittings like I saw on the M&A version.  Doesn't come with libretto,
though.  You might want to look around for that.  (i know I have)  The end
of Gotterdammerung is thoroughly enjoyable, and the sense of the live
performance comes through very well (though in more than one way! -- the
coughing I mean)

derek



-----Original Message-----
From: owner-furt-l@... [mailto:owner-furt-l@...]On
Behalf Of Mark Lam
Sent: Monday, July 27, 1998 2:38 PM
To: furt-l@...
Subject: [furt-l] [furt-1] Furtwangler's Wagner


Dear FW Fan,

Hi, I'm relatively new to all this. I am very interested in buying one of
Furtwangler's performances of the Ring Cycle on CD. But as they come in huge
sets, I cannot afford to experiment! I was wondering if you could offer me a
personal opinion on which you regard to be the best set? I am more concerned
with the quality of the performance than with the recording, but advice on
both would be great.

Cheers,
Mark Lam.

_______________________________________________
Get your free email at http://www.mymail.tm/

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>>> "Derek" <musiker@...> 29/7 1:30 >>>
Cheap I can understand.  Is it on pitch?

K. Howson-Jan
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We should not forget too that the D'Oro is dirt cheap.  I got mine for
around $60!

Gil Zilkha
University of Texas
School of Music

On Tue, 28 Jul 1998, Derek wrote:

> Ethan wrote:
> "
> Can anyone comment on the new release of the Scala Ring on Opera d'Oro?
>
> More importantly, has anyone compared its sound to previously available
> versions, such as that on Virtuoso or M&A? Does the Opera d'Oro version
> contain the complete performances as given, or does it include mysterious
> holes as seem to be present on other releases on the label?
>
> -Ethan
> "
>
> This is very strange, but listen up.  I brought my Opera D'ORO
> Gotterdammerung to HMV here in Singapore and asked to listen to the M&A.
> Verdict?  The M&A does not have an "open" a mono sound as the Opera d'ORO.
> It is like playing the same thing, but with the M&A with "dolby NR" switched
> on.  I hope you get what i mean.  The Opera d'ORO is to my ears a little
> more satisfying.
>
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Ethan wrote:
"
Can anyone comment on the new release of the Scala Ring on Opera d'Oro?

More importantly, has anyone compared its sound to previously available
versions, such as that on Virtuoso or M&A? Does the Opera d'Oro version
contain the complete performances as given, or does it include mysterious
holes as seem to be present on other releases on the label?

-Ethan
"

This is very strange, but listen up.  I brought my Opera D'ORO
Gotterdammerung to HMV here in Singapore and asked to listen to the M&A.
Verdict?  The M&A does not have an "open" a mono sound as the Opera d'ORO.
It is like playing the same thing, but with the M&A with "dolby NR" switched
on.  I hope you get what i mean.  The Opera d'ORO is to my ears a little
more satisfying.

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=== The original message was multipart MIME            ===
  === All non-text parts (attachments) have been removed ===

note to Neil: please don't remove the attachment.

Dear List Members:

You are the first to view the new conducting mouse cartoon about
Furtwangler, using the German joke our good friend Eric submitted.  It
does lose something in the translation.  The runner-up was the Karajan
and "all other a------s" joke.  Enjoy!
(If you didn't get the attachment, you can see it on the WWW only by
typing this URL:

http://www.geocities.com/Vienna/Strasse/9554/cmftso35.jpg

; it is not yet linked to the main conducting mouse page).

del Arte.

>From: Kischmir <Kischmir@...>
>Date: Thu, 16 Jul 1998 23:43:42 EDT
>To: koloman@..., furt-l@...
>Subject: Re: [furt-l] wilhelm furtwangler; jokes
>
>There's one story about WF that I dearly love, which works best in
German.  I
>will, however, append a translation.
>
>Two men are sitting in a cafe in Berlin as an elegant woman passes
them.  "Das
>ist die Frau Furtwdngler - die Zweite" says one, to which the other
replies,
>"Ja, die Neunte ist doch mit Chor."
>
>"That's Mrs Furtwdngler - the second," says one.  "Sure," comes the
reply.
>"The Ninth is with chorus."
>
>FWIW
>
>Eric
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>


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Dear Morton:

To keep the train of thought on track, let's add top 100 conductors to
the argument.
Would Wilhelm Furtwangler be on the list?  How about Arturo Toscanini?
I think von Karajan, Bernstein, Susan Haig,  Bruno Walter, Leslie B.
Dunner and Mravinsky definitely ought to be.  But then, how do we
measure something so subjective?  And if we're going to measure
subjective qualities, what qualities count and don't count for
measurement?  Some might say that Toscanini should not be on the list
because of his temper and all that stuff, but others might say that he
was a great musician and that's the only thing that should count.  Some
might say that Furtwangler and Karajan should not be on the list because
they got mixed up with the Nazis, but others would point out that they
were both cleared by the post-war tribunal, although it took longer
(timewise) for Furtwangler.  What I'm saying is, to what extent does
being a great man figure in being a great conductor?  And even counting
only the musical qualities, there is much room for subjectivity.
As for Top 100 Classical pieces, Morton, I don't debate the Schubert 9th
nor Berlioz's Fantastique, but I do debate the Rach 3.  Before all the
hoopla over Shine and David Helfgott, had you ever heard the Rach 3?
Did you think it was a great piece back then?  I'd like to submit my own
five choices for the Top 100 list:  Bruckner's 8th Symphony, John
Williams's soundtrack to Empire strikes back, Stravinsky's Symphony of
Psalms, Harold Shapero's Symphony for Classical Orchestra and Sousa's
Stars and Stripes Forever.  (If my choices seem skewed towards this
Century, oh well.)

Semper Fi
del Arte
del_arte@...

P.S.  A message about Furtwangler in the conducting mouse cartoon
follows.

>From: morton7@...
>To: furt-l@...
>Date: Mon, 27 Jul 1998 17:37:08 -0400
>Subject: [furt-l] Top 100
>
>Recently here in the US, we've had a list of the best 100 movies of
>the century published, followed by a similar list of the best books.
>
>Is anyone interested in a similar list for the 100 best classical music
>recordings of the century?
>
>I'll list five of my favorites for argument's sake.  I don't know if
this
>is
>the right venue for this discussion, but we seem to stray from WF from
>time to time.
>
>Anyway, here goes:
>
>Schubert: Symphony No. 9--Furtwangler, Berlin Phil, DGG
>Rimsky-Korsakoff: Scheherazade--Reiner, Chicago Sym, RCA Victor
>Elgar: Cello Concerto--Du Pre, Barbirolli, London Sym, EMI
>Rachmaninov:Piano Concerto No 3--Horowitz, Ormandy, NY Phil, RCA Victor
>Berlioz: Symphonie Fantastique--Monteux, San Francisco Sym, RCA Victor
>
>30
>
>_____________________________________________________________________
>You don't need to buy Internet access to use free Internet e-mail.
>Get completely free e-mail from Juno at http://www.juno.com
>Or call Juno at (800) 654-JUNO [654-5866]
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>


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I sort of agree with my friend Bill concerning the extant Furtwangler
RINGS, although I certainly wouldn't be without the 1950 La Scala (esp. in
the relatively inexpensive and decent-sounding M & A issue).  Overall, what
he says about Svanholm (who literally gives out in Act III of SIEGFRIED)
and Lorenz and Treptow (altho' I like Treptow better) is true. But there IS
a certain frisson about the LaScala performances that really is unique.
The 1953, with Moedl and Suthaus, is of course in better sound and perhaps
more evenly sung, but the Rome orchestra is not of the calibre of the
LaScala players.
      Actually the EMI set (1953) is not THAT expensive.   Actually, you
should get the 1953 and the M&A 1950; for a supplement, get the commercial
WALKUERE and don't miss the excerpt from the 1937 RING at Covent Garden
(esp. in the recent 2-cd M&A set, in very decent sound--this is arguably
WF's best performance, and the cast--Flagstad at her peak, Melchior in his
glory, Herbert Janssen, Ludwig Weber, Rudolf Bockelmann, etc--has NEVER
been topped.
Dr. Boyd D. Cathey
N. C. Department of Cultural Resources

      The opinions stated above are my own and do not necessarily express
the policies of the North Carolina Department of Cultural Resources.
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On Mon, 27 Jul 1998 17:37:08 -0400, you emailed:

>Is anyone interested in a similar list for the 100 best classical music
>recordings of the century?


Personally I'd rather this sort of question be confined to a newsgroup....

Thanks

neil
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Also sprach Bradleigh Stockwell...

>Well, I own a few "Rings" but I always find myself listening to is the
>EMI/RAI "Ring" performed in Rome.  The sound quality is miles ahead of
>the various incarnations of the La Scala version

<...>

Can anyone comment on the new release of the Scala Ring on Opera d'Oro?

More importantly, has anyone compared its sound to previously available
versions, such as that on Virtuoso or M&A? Does the Opera d'Oro version
contain the complete performances as given, or does it include mysterious
holes as seem to be present on other releases on the label?

-Ethan
--
Ethan Evan Prater
prater@...
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Mark Lam wrote:

(. . .) I am very interested in buying one of Furtwangler's performances
of the Ring Cycle on CD (. . .) I was wondering if you could offer me a
personal opinion on which you regard to be the best set? I am more
concerned with the quality of the performance than with the recording .
. .

Well, I own a few "Rings" but I always find myself listening to is the
EMI/RAI "Ring" performed in Rome.  The sound quality is miles ahead of
the various incarnations of the La Scala version, the singing is fine
(except for "Das Rheingold," one act was sung each night, so the singers
and orchestra had a minimum of a day to relax between acts) and it WAS
done in front of a smallish studio audience, so it's not a "safe" studio
affair.  Everyone has their own favorites, of course, and mine is the
EMI because - to my ears, at any rate - it's just the best (whatever
that means).  The La Scala version is marred by bad sound, non-stop
surface noise (this set defines acetate masters at their worst) and the
applause cuts off a lot of the ends of acts because the audience
apparently saw the lowing of the curtain as their cue to applaud. If you
are more thrilled by particular singers, then maybe the warty old La
Scala is your dream recording, but I'd rather hear the music in suitable
sound rather than put up with the 14-plus hours of acetate obbligato the
1950 recording inflicts upon my delicate shell-like ears.  As always,
this is simply my particular bone-headed opinion.

Bradleigh Stockwell
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On Mon, 27 Jul 1998 21:38:05 +0000 Mark Lam <mark_lam@...> writes:

>Hi, I'm relatively new to all this. I am very interested in buying one
>of Furtwangler's performances of the Ring Cycle on CD. But as they
>come in huge sets, I cannot afford to experiment! I was wondering if
>you could offer me a personal opinion on which you regard to be the
>best set? I am more concerned with the quality of the performance than
>with the recording, but advice on both would be great.

Well, here's how I see it.  1950 is cut, 1953 is complete (the 1950 cuts
aren't huge, but they're annoying).  1950 is live and staged, so it's a
bit less precise than 1953, which was recorded concert-style, one act at
a time.  Neither orchestra is particularly good, although I'd have to say
that the La Scala band is a bit cleaner.  Sonics are indifferent on the
1953, poor on the 1950 (by the standards of the time).

Casts are a mixed bag, and the 1953 is more consistent opera to opera
(Alberich aside).  As Bruennhilde, 1950 has Flagstad, who certainly sings
better than Moedl, but not as well as she did back in the 30's at the Met
(and those broadcasts are available).  Nor does she demonstrate any of
Moedl's passion.  The Wotans are better in 1950 (younger Frantz, and
Hermann in SIEGFRIED).  What really hurts the 1950 set are its
Heldentenors, an insult to the term.  Svanholm was not in good voice, and
Treptow and Lorenz are excruciatingly awful.  Suthaus in 1953 wasn't
ideal, and it's a shame that he didn't sing Siegmund and give Siegfried
to Windgassen, but at least the two of them don't make my ears bleed.

So I come down on the side of the 1953 RAI, but I seem to be in a
minority, particularly among WF fans.  In any event, be sure to find his
freestanding WALKUERE with the Vienna Philharmonic for EMI, which is in
excellent sound.

Bill

========================================
William D. Kasimer
wkas@...
wkas@...
Sharon, MA

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If you borrow or buy John Ardoin's  "The Furtwangler Record" you can not go
too far wrong,  because his taste is catholic, cultivated and scholarly.
In the valley of the blind....




>Subject: [furt-l] [furt-1] Furtwangler's Wagner
>To: furt-l@...
>From: Mark Lam <mark_lam@...>
>Reply-to: Mark Lam <mark_lam@...>
>Date: Mon, 27 Jul 1998 21:38:05 +0000
>Sender: owner-furt-l@...
>
>Dear FW Fan,
>
>Hi, I'm relatively new to all this. I am very interested in buying one of
Furtwangler's performances of the Ring Cycle on CD. But as they come in
huge sets, I cannot afford to experiment! I was wondering if you could
offer me a personal opinion on which you regard to be the best set? I am
more concerned with the quality of the performance than with the recording,
but advice on both would be great.
>
>Cheers,
>Mark Lam.
>
>_______________________________________________
>Get your free email at http://www.mymail.tm/
>
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>
Fritz Wagner
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Dear FW Fan,

Hi, I'm relatively new to all this. I am very interested in buying one of
Furtwangler's performances of the Ring Cycle on CD. But as they come in huge
sets, I cannot afford to experiment! I was wondering if you could offer me a
personal opinion on which you regard to be the best set? I am more concerned
with the quality of the performance than with the recording, but advice on both
would be great.

Cheers,
Mark Lam.

_______________________________________________
Get your free email at http://www.mymail.tm/

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Recently here in the US, we've had a list of the best 100 movies of
the century published, followed by a similar list of the best books.

Is anyone interested in a similar list for the 100 best classical music
recordings of the century?

I'll list five of my favorites for argument's sake.  I don't know if this
is
the right venue for this discussion, but we seem to stray from WF from
time to time.

Anyway, here goes:

Schubert: Symphony No. 9--Furtwangler, Berlin Phil, DGG
Rimsky-Korsakoff: Scheherazade--Reiner, Chicago Sym, RCA Victor
Elgar: Cello Concerto--Du Pre, Barbirolli, London Sym, EMI
Rachmaninov:Piano Concerto No 3--Horowitz, Ormandy, NY Phil, RCA Victor
Berlioz: Symphonie Fantastique--Monteux, San Francisco Sym, RCA Victor

30

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Dear fan of Furt,

http://www.bekkoame.or.jp/abend/ is the address of abend recordings.

Martin

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Simon Clark wrote:
<I also understand that Abend can get hold of Mravinsky videos including one
or
<more performances of the Tchaikovsky 5th (which may be of interest to the
>subscriber to this list who recently asked about the Mravinsky performance on
>the second Great Conductors video).

I have purchased this video set from Abend and can report that it is awful in
technical quality - beat-up, grainy film prints and pre-acoustic era-like
sound. The originals, shown on Soviet TV to mark Mravinsky's 70th, 75th and
80th birthdays, were excellent, and the sound-tracks for many of the items
have been widely circulating for many years in good stereo on Melodiya and its
licensee's LP's and CD's. If you don't have a sentimental attachment to these
films, stay away.

Abend has a web site: www.bekkoame.or.jp/abend/

Michael Korsunsky

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to Schipper, Stockwell, and Boyd:
welcome to the world of tape collectors+ADs- excuse me, i am new at
this computer stuff+ADs- i am a nyc collector who recorded extensively in nyc in
the early 70s (i have a wealth of Boulez/ny phil concerts +ADs- also
recorded the 2 last Stokowski/Amer. Sym. concerts in stereo which
might be floating around in collector-land+ADs-  once something is shared
(especially with M+ACY-A) - regardless of caveats - it will make the rounds+ADs-
ttfn
john



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Dear Furtwangler's fan,

Why so many Asiatic buy these Cd??? Are Japanese are stupid? I do not
think so? It is a matter of taste and culture?

It was easy for me to get those Breitklang system recordings of Furt by
a friend who was living in Japan when he was at school.  I do not think
that those recordings are so bad compare to all those pirate edition.
But I agree with you that the Testament or Emi References are better
pitched but, I didn't mentioned that I have a stroboscope on my CD
player (which is rare), and that I do master my own tape.

When the Beethoven Furt 3rd on Bayer was the only good recording of it
everyone told that it was the best recording, and now that Tahra had
remastered it in a good pitch everybody hate Bayer.

It is the same for Toshiba recordings.  And for the Rodolphe mono
system, 140 min. of music on one CD, I hated them, because of the
adaptator it needed.

The french connoisseur like the Grammofono 2000 Cedar remasrering and I
hated it.  Listening to music is a question of taste, and the pitch of a
recordings is subjective, today with the baroque musician it varies from
H=370 Hz to 440 to 465Hz, during the time of Furt, are you sure that the
pitch was La=440Hz?  I may be " naive", but that is what I think, and my
opinion can change with time...8-)!!!

Anyway, if you want the Emi Grandmasters Series catalogue, it is all
written in Japanese and only my japanese friend could help me t0 read
it.  If you use the Open text research robot, type the word abend and
you will find a place to order them, but they are costly (40$ on
importation and only 17$ if you find a cyberfriend in Japan).


Regards,
Martin Richard from Canada





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I suspect there might be a funny/ironic albeit apocryphal story here if we
could change the driver of the second car to von Karajan, a well-known
lover of fast cars.

Kang Howson-Jan

>>> Bradleigh Stockwell <koloman@...> 12/7 23:59 >>>
After the war - in Switzerland, I think - Furtwangler was being driven
to a concert when he excitedly asked the driver of the car to speed up
and pass a car he had noticed ahead of them.  As they rocketed past,
Furtwangler waved at the driver of the other car.  When asked what
had
just happened, Furtwangler happily explained that the driver of the
other car was a member of the Berlin Philharmonic who was habitually
complained that Furtwangler was always too slow.

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neil:
apologies+ADs- very new at this computer business+ADs- i assume you are
familiar with the Backhaus/Clemens Krauss recording of the
Beethoven Fifth Concerto which was available in the US on
London LL-879 (reissued on Richmond B 19072)+ADs- there also
was a recording of the Beethoven 4th c. with Backhaus/Krauss
(i only have the Richmond recording catalog number B19017 -
all performances feature the Vienna Phil.)+ADs- hope this info is of some
help+ADs-
i am a collector in nyc and have access to live recordings on tape (i
recorded Boulez in the 70s with the ny phil - my live recording of his
Mahler 8th with the ny phil is floating somewhere out there
in collector land+ADs- please let me know if this fledgling e-mail reaches
you+ADs-
ttfn
john



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=== The original message was multipart MIME            ===
  === All non-text parts (attachments) have been removed ===

      Thanks for this tip.  What is Abend's E-Mail address?

I also understand that Abend can get hold of Mravinsky videos including one or
more performances of the Tchaikovsky 5th (which may be of interest to the
subscriber to this list who recently asked about the Mravinsky performance on
the second Great Conductors video).


______________________________ Reply Separator _________________________________
Subject: Re: [furt-l] Content-Type: text/plain
Author:  "martin richard" <martinrichard56@...> at Internet
Date:    24/7/98 13:57


Dear fan of Furt

There is a lot of Furtwangler stereo recordings available in Japan on
Emi Toshiba Grandmasters Series. They are great remastering far better
than Grammofonno mono recordings or all those italian pirate
remasterings.  Available on Abend recordings.  The artificial stereo was
done by the BREITKLANG SYSTEM.

Martin
Canada

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cds for sale. shipping and handling charge is $2.50 for the first cd and
$.50 for an additional cd.


Beethoven piano concerto no. 1 Aeschbacher (1947)
     no. 4  Cornrad Hansen (1943). Furtwangler conducted
   Lucerne Festival Orch. (no. 1) Berlin Philharmonic Orchestra.
     Music and Arts  859  $7.00

Bruckner sympony. no. 9 Berlin Philharmonic Orchestra/Furtwangler, 1944
    Iron Needle 1333.  $ 6.00

Beethoven symphony no. 5, Tchaikovsky no. 6
      Berlin Philharmonic Orchestra/Furtwangler.
                 Novello NVLCD904  $5.00

Barenboim play Beethoven Diabelli variations, sonata no. 8, 14, 23
      MCA double decker
         MCAD2-9803  A &B $3.00


Please e-mail me @ yijst+@... if you are interested in.

Thanks.


regards,


Joey

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Thanks to you all for this information - I will investigate and try to
find the one on the video - Thanks!
--

Dennis C. Clark
San Francisco, California
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