On 06/04/06, Steven Smolian wrote:
I think this concept of tempi suitable to the hall is made clear by
considering the need for organists, say, to adjust the tempo of the
Widor Toccata to the acoustical environment so the middle voices don't
become muddlevoices.
On the other extreme, I've yet to discover a way to rationalize
Toscanini's tempo for the Entrance of the Meistersingers in his live
recording, which is taken at trot tempo.
Do you mean the 1937 Salzburg performance, or a different one?
I'm also convinced that Mahler's reorchestrations were made for
specific halls. I betcha those for the Concertgebouw differ from those
made for other locations. That would make an interesting study.
Regards
--
Don Cox
doncox@xxxxxxxxxxxxxx
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