No subject

successful because of the sonic disparity between the first desk players (p=
articularly the concertmaster) and the sections behind them on the finished=
 recordings.  The Philadelphia sessions which came very shortly thereafter =
were much more successful recordings, perhaps - I have a strong hunch on th=
is, no more - because Stokowski heard test pressings of the BSO recordings =
and requested changes.  Or Victor's engineers did the changes independently=
, having listened to their earlier work with open ears and tense management=
 behind them.  The more I investigate acoustic recording, the more respect =
I have for its engineers; it was as complex, in its way, as microphonic rec=
ording, and nuance was not only possible but present when everything came t=
ogether precisely.  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: Sunday, April 07, 2013 1:33 AM
To: 78-l at klickitat.78online.com
Subject: Re: [78-L] Acoustic BSO recordings

 On 06/04/2013, David Lennick wrote:

> I'm trying not to imagine the sound of 12 French horns....
>
 The 1959 Mackerras recording of Handel's Fireworks music
uses nine horns (as did the first performance).

(And 26 oboes, 14 bassoons, 4 contra-bassoons, 2 serpents, 9 trumpets, 3
pairs of tympani and 6 side drums.)

Regards
--
Don Cox
doncox at enterprise.net

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