[78-L] Capriccio Italien [fwd]

[Mike Harkin]

Practically every 19th century opera and operetta listed in WERM starts with 'orchestral selections, medleys, potpourris' and like that, usually done by Harry Horlick, Dajos Bela
or Otto Schmink.  Feh!. 

 Wasn't the three disc 'Eroica' by Henry Wood? 

Mike in Plovdiv

--- On Sat, 3/10/12, Philip Carli <Philip_Carli at pittsford.monroe.edu> wrote:

From: Philip Carli <Philip_Carli at pittsford.monroe.edu>
Subject: Re: [78-L] Capriccio Italien
To: "78-L Mail List" <78-l at klickitat.78online.com>
Date: Saturday, March 10, 2012, 5:56 PM

I still find it interesting, especially in the acoustical era, how cuts were arrived at - in other words, what the conductors deemed the most salient points of a piece in order to deal with limited space and still give some idea of a work. And as mentioned earlier, it went well into the electrical era. I have recordings of several versions of the standard Ricordi orchestral selection from MADAMA BUTTERFLY, ranging from Lacalle's Band on an Indestructible cylinder to the BBC Wireless Symph/Percy Pitt on Columbia, and none of them is cut remotely the same.  The most interesting ones in some ways are by conductors with operatic experience (Pasternack, Sodero, Pitt).  Also, all the 2-sided versions of Rossini's SEMIRAMIDE overture are cut very differently; the first "complete" recording of it I've encountered (and I use quotes because 1 repeat is omitted) is "Milan Symphony" (La Scala, otherwise)/Lorenzo Molajoli for Columbia on 3 sides, around 1927,
 released on Green Label here 
 and Blue Label in the UK.  (The 4th side is the CAVALLERIA RUSTICANA Intermezzo.) PC
________________________________________
From: 78-l-bounces at klickitat.78online.com [78-l-bounces at klickitat.78online.com] on behalf of Don Cox [doncox at enterprise.net]
Sent: Saturday, March 10, 2012 12:15 PM
To: 78-l at klickitat.78online.com
Subject: Re: [78-L] Capriccio Italien

On 10/03/2012, David Lennick wrote:

> On 3/10/2012 10:04 AM, Don Cox wrote:
>> On 10/03/2012, David Lennick wrote:
>>
>>> If it was the late 1920s, there was probably still a market for
>>> "highlights" and abbreviated performances, a carry-over from
>>> simplified symphonies and overtures on acoustical discs.
>>
>> There appears to be still a market among radio stations such as
>> ClassicFM in Britain, which seldom plays more than one movement of a
>> symphony or concerto.
>
> As does a Classics For Yuppies station in Toronto which did
> surprisingly well in the last ratings. It also has announcers who
> can't stop giggling, one who should go back to sportscasting, another
> who should be hogtied and forced to listen to his own airchecks
> because he loves the sound of how high and how low he can make his
> voice go, and the city's noisiest commercials. In between this crap
> and a lot of useless arts reports and restaurant reviews, they squeeze
> in a minute or so of over-compressed music. Burnham knows the one I
> mean.
>
That sounds even worse than ClassicFM.

Regards
--
Don Cox
doncox at enterprise.net

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