Newsgroup: it.arti.musica.classica
Titolo: Horenstein/Mahler

Qualcuno sa se Horenstein ha inciso tutte le sinfonie di Mahler? Io ho la
1.,3.,4.,6. e 9.
Brenno

 Brenno
ci sono anche 7 e 8, disponibile su etichette BBC. Attenzione: ci sono
2 versioni di n.1, e 5 versioni del n. 9. C'e' anche Das Lied von der
Erde su BBC, Kindertotenlieder (almeno 4 incisioni) e Lieder Eines
Fahrenden Gesellen (su Vox). Su etichette pirate ci sono versioni
anche delle sinfonie 1, 3, 5, 6, e 9 in esecuzioni diverse di quelle
ufficiale. Solo incisione del numero 2 manca, l'ultima volta
Horenstein l'ha fatto a Trieste, 1972, pero senza microfono presente.
YH

>Unicorn was an offshoot of the Record Hunter (a London record
store). We imported labels that you couldn't get in the UK, and we had
built a good clientele. After a couple of years I started having ideas
about my own label. First I started with historical issues of wartime
Furtwangler performances, which sold well, especially in Japan. As you
get deeper into it, you get to know what the gaps are in the catalogs,
so that around1966/7 a lot of collectors were asking me for Horenstein
recordings. Vox was in a state of flux, and lots of our clients wanted
JH, and also Nielsen. At that time there was very little of Nielsen's
music in the catalogs, apart >from one Bernstein version of the 5th,
and no new Horenstein recordings, so I put two and two together... I
heard from Tony Hodgson that the BBC was telerecording Nielsen's 5th
with Horenstein and the New Philharmonia. Here was an opportunity. I
went to the orchestra, who said, "Fine, if you pay in advance and talk
to Horenstein". Then I phoned Sandor Gorlinsky (Horenstein's agent)
who was very unimpressed. He agreed to see me in his palatial Dover
Street office. I said, "I have this label, Unicorn, and here is an
opportunity for JH," and he said, "Meester Goldschmidt (sic), is this
a new label for EMI, for DGG, or Decca?"? "No, its just me; I started
this only recently with the Furtwangler material." Gorlinsky looked at
me sternly and said, "Meester Goldschmidt, I don't want your money,
Mr. Horenstein, he doesn't want your money either. He only records for
the BIG companies."? "With respect," I replied, "where ARE these big
companies?", to which he had to agree. Anyway I persisted, and
Gorlinsky finally said, "well, I don't think Maestro Horenstein would
be interested, but he is at the Savoy Hotel and I will call him for
you, and you speak with him. He called JH who, intrigued, invited me
to lunch the same day at the Savoy. I started telling him my life
history but JH, rather like Gorlinsky, was polite but not particularly
impressed. Then I told him about the Furtwangler recordings, and his
attitude changed immediately when he realised that I knew
Furtwangler's widow Frau Elisabeth, that she had confidence in me, and
that I had made a lot of sales in Japan. That cheered JH up no end.
Then he said, "OK, we will make the recording under one condition;
when we finish the tapes I will listen to them, and if I do not like
it you will not issue them." That's easy for you to say, I thought.>>
Horenstein's collaboration with Unicorn resulted in the only
commercial recordings he made during his last years. Some major
recording deals came close to being finalized, notably for RCA which
would have included a complete Mahler cycle, and for Abbey Records,
who almost recorded Mahler's 9th and Verklaerte Nacht with the LSO,
but in every case the backers got cold feet when it came to signing
the checks, and pulled out of the deal. This was a source of enormous
frustration to Horenstein and to all of us who knew his unforgettable
art at first hand.
----------------------
Yakov Horenstein
Milano, Italy

 ci sono anche 7 e 8, disponibile su etichette BBC.
E su altre etichette pirata (ho una versione della 7).
http://ccins.camosun.bc.ca/~dbarker/jh/Discography.html
Ciao    Mr Duffy
--
http://www.swcp.com/~jamii/OtherCats/duffy.jpg

 ma non è mai stata pubblicata.
Purtroppo non esiste. Sembra strano oggi ma il festival di Johanesburg
in 1956, che ospitava il London Symphony Orchestra con Horenstein, per
non parlare dell'intero compagnia La Scala, non ha fatto nessun
registrazioni degli eventi musicali durante il festival. Era un'epoca
diversa della nostra...
Per i tifosi di Horenstein italiani: se qualqu'uno abbia accesso agli
archivi della RAI, esiste un numero sconosciuto di registrazioni con
Horenstein dai concerti eseguiti in Italia dagli anni '50 in poi.
Questi dovrebbero includere anche la prima mondiale degli "Altenberg
Lieder" di Alban Berg, con Elsa Cavelti, e, dallo stesso concerto del
24 gennaio 1953 con l'orchestra della RAI di Roma, un'altra incisione
della terza di Mahler.
Gamish

 Ciao    Mr Duffy
Infatti, e l'edizione pirata della 7ma (su Descant oppure Intaglio,
entrambi praticamente introvabili) e' una registrazione migliore di
non quella pubblicata dalla BBC (per via di una stupida errore a
Londra).
Gamish

 Londra).
La mia č ancora piů pirata: Fabbri!!... perň, il vibrato della tuba wagneriana
all'inizio, che goduria... che, correggetemi, mi pareva dia ver ritrovato anche
in nella sua 9a con la LSO, ascoltata alla radio. Io invece ho la 9a della Vox,
e mi ha impressioanto di meno. Un po', via.
