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Although supporters and critics of conductor Leopold Stokowski have disagreed over his contribution to symphonic music, a consensus developed that he was a man of paradox and mystery, an extrovert showman reclusively shy about who he was and what he was trying to do in music. This volume attempts to solve the mysteries. Includes an annotated discography.
This edition includes the Concert Register. About the compiler: John Hunt was born in Windsor and Graduated from University College London, in German language and literature. He has worked in personnel administration, record retailing and bibliographic research for a government agency and is on the lecture panel of the National Federation of Music Societies. In his capacity as Chairman of the Furtwängler Society UK, John Hunt has attended conventions in Rome, Paris and Zürich and has contributed to important reference works about Furtwängler by John Ardoin and Joachim Matzner. He has also translated from the German Jürgen Kesting's important monograph on Maria Callas. John Hunt has published discographies of over 80 performing artists, several of which have run into two or more editions.
Leopold Stokowski began his career in England as an organist and choirmaster. This first major study of Stokowski's early years covers his education at the Royal College of Music, his church posts in London, and his three years spent as director of music at New York's prestigious St. Bartholomew's Church. An examination of the programs of his organ recitals (played on the third largest organ in America), a list of his repertoire, facsimiles of his original choral works, an analysis of his Aeolian player organ roll of Bach's Passacaglia, and a detailed study of his famous orchestral transcriptions of Bach's organ works, reveals a new and unique insight into Stokowski's unparalleled career in music.
Daniel, long time associate and friend unfolds "Stoki's" extraordinary career, spanning more than 75 years of music-making. The story of this conductor's involvement with the musical institutions of this century, his vigor, productivity and vision, is closely entwined with the history of music in America. Though there were many facets to Stokowski's personality, including his vanity, showmanship, and love of publicity, Daniel reminds us that behind the glamour and headlines, Stokowski's contribution to music was profound and of lasting importance. The author's style is anecdotal, relying on extensive quotations from memoirs, correspondence and especially personal interviews. ISBN 0-396-07936-9.
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"Arved Ashby writes with a keen sense of the historical processes, ironies, and reversals that seem to characterize the ways that musicologists think about, and contemporary listeners experience, works and performance. This book is a major contribution to the burgeoning body of critical musicological literature on recordings; anybody interested in that field, or in the question of the 'artwork' in the contemporary world, needs to read this book--which fortunately, is a great pleasure to do."--Adam Krims, author of Music and Urban Geography "The relationship between classical music and recording is strangely conflicted: on the one hand recorded music is the perfect realization of aesthetic au...
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