[78-L] Acoustic BSO recordings

[Philip Carli]

If you look at the rosters for Victor's 1925-30 electrical orchestrals, there are almost always 2 tubas included.  Contrabasses in large ensemble situations still didn't record well in early electrics, partially because of the inherent nature of the instrument, and partially because of their placement in the orchestra in relation to the single-microphone setup (and types of mike) then used. PC
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From: 78-l-bounces at klickitat.78online.com [78-l-bounces at klickitat.78online.com] on behalf of David Lennick [dlennick at sympatico.ca]
Sent: Sunday, April 07, 2013 2:52 PM
To: 78-L Mail List
Subject: Re: [78-L] Acoustic BSO recordings

Amazingly, Stokowski's Marche Slav was kept in print for decades, and it was
one of the earliest electricals..with tubas!

dl

On 4/7/2013 2:47 PM, Philip Carli wrote:
> Some studios used both contrabasses and tubas in orchestral recording, probably tubas for pitch directionality and contrabasses for colour and frequency support.  The 1912-13 U-S Everlasting orchestra cylinders did that, as both are listed in the roster made by U-S conductor Louis von der Mehden.  Also, in Armand Vecsey's Hungarian Orchestra Edison cylinders and Diamond Discs starting in 1912 you can distinctly hear a contrabass being used, replete with audible bow stroke. Many people abruptly dismiss tuba playing on acoustic orchestral recordings as, at best, a poor substitute for contrabasses, and at worst a risible practice,  but if you accept the convention and listen without prejudice, the tuba playing itself is often extraordinarily sensitive and appropriate to the ensemble, as well as technically virtuosic.  PC
> ________________________________________
> From: 78-l-bounces at klickitat.78online.com [78-l-bounces at klickitat.78online.com] on behalf of David Lennick [dlennick at sympatico.ca]
> Sent: Sunday, April 07, 2013 11:19 AM
> To: 78-L Mail List
> Subject: Re: [78-L] Acoustic BSO recordings
>
> I haven't listened to the BSO recordings in quite a while, but I was amazed
> years ago to play the earliest Stokowski Victors with some experimental bass
> boost (a Fisher amp I once owned had a "tape head" eq that did amazing things)
> and lo and behold, there were bass instruments, not tubas.
>
> dl
>
> On 4/7/2013 10:58 AM, Philip Carli wrote:
>> Also, Victor used a series of "igloos", or acoustic chambers with the BSO's instrumental groups, set up in the Auditorium studio (I think this was the first time it had been used for commercially issued disc), to supposedly focus sound towards a _few_ recording horns.  Two or three horns had been used for large-group recordings for a number of years by 1917, both here and in Europe; this was the most extensive experiment this way to that date. 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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