Discussion:
Mortimer Frank
(too old to reply)
ansermetniac
2004-06-24 16:51:06 UTC
Permalink
I do not think we have ever stated our opinionated opinions on Mr.
Frank. His enthusiasm regarding Toscanini is quite comendable. His
book, I find, to be a reference book and not one that has opinions
worthy of further study

For example, for those who have downloaded my mp3s of the Haydn 104,
Frank said that the outer movements were lacking in inflection. I do
not find that at all. IIRC, he dismissed the Oxford as graceless. I
just finsihed remastering that and that is not the case.

Regarding, which transfer is best, keep in mind, he likes reverb (did
you get that Glen!!!).

In my experience, the recommendations regarding performance and sound
of the Toscaniini legacy are better served by B.H. Haggin and Harris
Goldsmith and those in this group.

Is his study of Toscanini as "matter of fact" as the NBC personel list
in his book?

How is he as a reveiwer of other conductors?

Is he related to Philip Frank, violist of thre NBC Symphony?

Where does Mr. Frank stand in the view of the esteemed members of this
group?

Abbedd






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Paul Goldstein
2004-06-24 17:22:00 UTC
Permalink
Post by ansermetniac
Where does Mr. Frank stand in the view of the esteemed members of this
group?
If you search RMCR, you will find several posts by me that are critical of
Frank, and especially the "NBC Years" book, for reasons similar to yours. That
said, he is a useful critic (in Fanfare) because over the years he has made his
biases quite clear, and his evaluations of recordings can be adjusted
accordingly.

Paul Goldstein
ansermetniac
2004-06-24 18:15:58 UTC
Permalink
On 24 Jun 2004 10:22:00 -0700, Paul Goldstein
Post by Paul Goldstein
he has made his
biases quite clear, and his evaluations of recordings can be adjusted
What are those biases?

Abbedd
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Paul Goldstein
2004-06-24 19:10:42 UTC
Permalink
Post by ansermetniac
On 24 Jun 2004 10:22:00 -0700, Paul Goldstein
Post by Paul Goldstein
he has made his
biases quite clear, and his evaluations of recordings can be adjusted
What are those biases?
He believes in, and prefers, LTMSFI performances.

Paul Goldstein
ansermetniac
2004-06-24 21:10:37 UTC
Permalink
On 24 Jun 2004 12:10:42 -0700, Paul Goldstein
Post by Paul Goldstein
LTMSFI
waht be dat?

Abbedd

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Paul Goldstein
2004-06-24 21:45:39 UTC
Permalink
Post by ansermetniac
On 24 Jun 2004 12:10:42 -0700, Paul Goldstein
Post by Paul Goldstein
LTMSFI
waht be dat?
letting the music speak for itself

Paul Goldstein
ansermetniac
2004-06-24 22:32:51 UTC
Permalink
On 24 Jun 2004 14:45:39 -0700, Paul Goldstein
Post by Paul Goldstein
Post by ansermetniac
On 24 Jun 2004 12:10:42 -0700, Paul Goldstein
Post by Paul Goldstein
LTMSFI
waht be dat?
letting the music speak for itself
I agree wityh that bias. Taht's why he lieks Toscanini and I like
Ansermet
Post by Paul Goldstein
Paul Goldstein
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Alan Watkins
2004-06-25 21:07:52 UTC
Permalink
Post by Paul Goldstein
Post by ansermetniac
On 24 Jun 2004 12:10:42 -0700, Paul Goldstein
Post by Paul Goldstein
LTMSFI
waht be dat?
letting the music speak for itself
Paul Goldstein
That is living dangerously:):) Reminds me of that old joke: Man to
Gardener: "It must be wonderful to be in God's garden all day long."

Gardener: "Yes, but you should have seen what it was like when he had
it on his own."

Kind regards,
Alan M. Watkins
Ramon Khalona
2004-06-24 23:07:32 UTC
Permalink
Post by ansermetniac
On 24 Jun 2004 10:22:00 -0700, Paul Goldstein
Post by Paul Goldstein
he has made his
biases quite clear, and his evaluations of recordings can be adjusted
What are those biases?
He likes Toscanini. :-)

RK
Glen Gould
2004-06-25 00:33:44 UTC
Permalink
Post by ansermetniac
I do not think we have ever stated our opinionated opinions on Mr.
Frank. His enthusiasm regarding Toscanini is quite comendable. His
book, I find, to be a reference book and not one that has opinions
worthy of further study
It is very difficult to use as a reference book for what pieces were
played at which concerts because of the large number of errors.
Someday I will finish and publish my listing of them for others to
review to see if we can't come up with a truly correct list. The sad
thing is that Frank has access to all of this information and the
errors are strictly due to sloppiness.
Post by ansermetniac
For example, for those who have downloaded my mp3s of the Haydn 104,
Frank said that the outer movements were lacking in inflection. I do
not find that at all. IIRC, he dismissed the Oxford as graceless. I
just finsihed remastering that and that is not the case.
I think this demonstrates what I don't like about much of music
criticism. If a reviewer says that a performance lacks inflection or
is graceless, they should give a comparison performance that would
show an example of grace or inflection. If I say I like one Toscanini
performance X over Y and somebody else says they like Y better than X,
that prompts me to want to go back and listen again to see if my
perception or values have changed. That is a good thing. If
somebody's opinion is opposed to mine a good percentage of the time,
then I will most likely discount their opinion in the future. Frank
does not fall in that category. Yes, some of his preferences are
different than mine but on the whole they are not totally unworthy.
How does one actually go about writing a book describing the pros and
cons of each and every Toscanini recording? How much of this did he
write just pulling out of his memory some impression he may have had?

I haven't listened to the Oxford recently but the 104 is very nice and
has plenty of what I perceive to be authentic Haydn style grace and
inflection.
Post by ansermetniac
Regarding, which transfer is best, keep in mind, he likes reverb (did
you get that Glen!!!).
I like natural hall ambience. I prefer the sound of Studio 8-H
recordings where the microphones picked up some natural ambience.
Walter Toscanini/RCA reverb and such travesties as Iron Needle and
Memories as well as heavily filtering off the upper end make me upset.
I have an equalizer but once the original sound is destroyed there is
nothing I can do to get it back. That said, I try to find the most
natural sound I can. If the quality of the sound is too problematic, I
just turn it up and go listen to it from another room. This generally
allows me to enjoy the performance, which is what it is all about.
Post by ansermetniac
In my experience, the recommendations regarding performance and sound
of the Toscaniini legacy are better served by B.H. Haggin and Harris
Goldsmith and those in this group.
B.H. Haggin should be read by anyone interested in writing about music
or music criticism.
Post by ansermetniac
Is his study of Toscanini as "matter of fact" as the NBC personel list
in his book?
How is he as a reveiwer of other conductors?
Is he related to Philip Frank, violist of thre NBC Symphony?
Where does Mr. Frank stand in the view of the esteemed members of this
group?
Could his book have contained less errors - certainly, and yes there
are better more astute reviewers. However, Mr. Frank has done far
more to promote and keep the legacy of Toscanini alive more than I or
I assume most everyone else reading these posts have done, and for
that he should be commended.

- Glen

Toscanini Web Site
http://www.laden-gould.com/toscanini
Post by ansermetniac
Abbedd
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E.A.F.E.
ansermetniac
2004-06-25 00:55:10 UTC
Permalink
Post by Glen Gould
Post by ansermetniac
I do not think we have ever stated our opinionated opinions on Mr.
Frank. His enthusiasm regarding Toscanini is quite comendable. His
book, I find, to be a reference book and not one that has opinions
worthy of further study
It is very difficult to use as a reference book for what pieces were
played at which concerts because of the large number of errors.
Someday I will finish and publish my listing of them for others to
review to see if we can't come up with a truly correct list. The sad
thing is that Frank has access to all of this information and the
errors are strictly due to sloppiness.
Post by ansermetniac
For example, for those who have downloaded my mp3s of the Haydn 104,
Frank said that the outer movements were lacking in inflection. I do
not find that at all. IIRC, he dismissed the Oxford as graceless. I
just finsihed remastering that and that is not the case.
I think this demonstrates what I don't like about much of music
criticism. If a reviewer says that a performance lacks inflection or
is graceless, they should give a comparison performance that would
show an example of grace or inflection. If I say I like one Toscanini
performance X over Y and somebody else says they like Y better than X,
that prompts me to want to go back and listen again to see if my
perception or values have changed. That is a good thing. If
somebody's opinion is opposed to mine a good percentage of the time,
then I will most likely discount their opinion in the future. Frank
does not fall in that category. Yes, some of his preferences are
different than mine but on the whole they are not totally unworthy.
How does one actually go about writing a book describing the pros and
cons of each and every Toscanini recording? How much of this did he
write just pulling out of his memory some impression he may have had?
I haven't listened to the Oxford recently but the 104 is very nice and
has plenty of what I perceive to be authentic Haydn style grace and
inflection.
Post by ansermetniac
Regarding, which transfer is best, keep in mind, he likes reverb (did
you get that Glen!!!).
I like natural hall ambience. I prefer the sound of Studio 8-H
recordings where the microphones picked up some natural ambience.
Walter Toscanini/RCA reverb and such travesties as Iron Needle and
Memories as well as heavily filtering off the upper end make me upset.
I have an equalizer but once the original sound is destroyed there is
nothing I can do to get it back. That said, I try to find the most
natural sound I can. If the quality of the sound is too problematic, I
just turn it up and go listen to it from another room. This generally
allows me to enjoy the performance, which is what it is all about.
Post by ansermetniac
In my experience, the recommendations regarding performance and sound
of the Toscaniini legacy are better served by B.H. Haggin and Harris
Goldsmith and those in this group.
B.H. Haggin should be read by anyone interested in writing about music
or music criticism.
Post by ansermetniac
Is his study of Toscanini as "matter of fact" as the NBC personel list
in his book?
How is he as a reveiwer of other conductors?
Is he related to Philip Frank, violist of thre NBC Symphony?
Where does Mr. Frank stand in the view of the esteemed members of this
group?
Could his book have contained less errors - certainly, and yes there
are better more astute reviewers. However, Mr. Frank has done far
more to promote and keep the legacy of Toscanini alive more than I or
I assume most everyone else reading these posts have done, and for
that he should be commended.
- Glen
Toscanini Web Site
http://www.laden-gould.com/toscanini
Post by ansermetniac
Abbedd
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E.A.F.E.
Glen

Can you give at least one example of one of Frank's errors. And yes he
has done the Toscanini Legacy wonders with his enthusiasm but not in
his choice of performances or transfers. Bottom line, in the absence
of the deceased Haggin, his efforts are appreciated, But why was THAT
book not written by Goldsmith

Abbedd
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E.A.F.E.
massa-
2004-06-25 13:45:45 UTC
Permalink
Hellow.
Post by ansermetniac
Can you give at least one example of one of Frank's errors.
I found many mistakes and inconsistency in Frank's work.

For example, in page 112, we can find great? one.

Confirm 1954/14/March. and 1954/21/March

But his work is of great value to me.

Sorry for my poor English.

MT from JAPAN
Glen Gould
2004-06-25 22:24:35 UTC
Permalink
Post by ansermetniac
Post by Glen Gould
Post by ansermetniac
I do not think we have ever stated our opinionated opinions on Mr.
Frank. His enthusiasm regarding Toscanini is quite comendable. His
book, I find, to be a reference book and not one that has opinions
worthy of further study
It is very difficult to use as a reference book for what pieces were
played at which concerts because of the large number of errors.
Someday I will finish and publish my listing of them for others to
review to see if we can't come up with a truly correct list. The sad
thing is that Frank has access to all of this information and the
errors are strictly due to sloppiness.
Glen
Can you give at least one example of one of Frank's errors. And yes he
has done the Toscanini Legacy wonders with his enthusiasm but not in
his choice of performances or transfers. Bottom line, in the absence
of the deceased Haggin, his efforts are appreciated, But why was THAT
book not written by Goldsmith
You can ask Goldsmith and I bet he will say "Because it is a heck of a
lot of work with virtually no reward."
Post by ansermetniac
Abbedd
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E.A.F.E.
OK, here is a few more than one. Without going back and proofing
everything, this is what I have so far. Please consider this a
preliminary and unedited list. Hopefully in the near future I will
have a complete list posted on my web site.

Page 45. The 2nd movement of the Beethoven Quartet is marked Vivace,
not Scherzo.

Page 49. Wagner Parsifal Good Friday Spell not listed for 12 Nov.
1938.

Page 52. RCA, Guild, and Naxos CDs all say Beethoven Violin Concerto
recorded on 11 of March instead of 10. Still, they all could be in
error.

Page 54. 23 October 1938 should be 28.

MF thinks Parsifal 1940 synthesis dull.

Page 58. 07 Dec 1940 should include Finlandia.

Page 58. 21 Dec 1940 concert missing.
Glinka: Kamarinskaya
Rubinstein: Valse Caprice in E-flat
Petrouchka: Tableaux 1 and 4
Tchaikovsky: Manfred Symphony

Page 58. Missa Solemnis on 28 not 23.

Page 59. Tristan and Isolde Prelude not listed.

Page 59. 05 Apr 1941 shows Queen Mab but Marsh does not, I don't know
which is correct.

Page 64. Recorded T&I Prelude and Liebestod but I only have Liebestod
on Vol. 49

Page 65. May have been a Meistersinger Act I Prelude on 14 Mar 1942.

Page 65. Star-Spangled Banner may have been played 19 July 1942.

Page 69. Marsh says 4 Apr 1943 Passo a sei only, not WT Overture.

Page 69. Marsh says 25 Apr. 1943 included Star-Spangled banner.

Page 69. Cherubini quartet scherzo for 4 Apr 1943 that is not listed.

Page 74. Madison Square Garden does not include T&I P&L.

Page 75. Siegfried Forest Murmurs not included on 27 Aug. 1944

Page 75. VE day, and the Beethoven 5th are on 08 May 1945.

Page 77. Are the 1945.06.01 recordings in Studio 8-H or Carnegie Hall?

Page 78. Dorfman should only have one "n".

Page 80. Dorfman should only have one "n".

Page 80. Should mention that the Leonore Overture No. 3 was played
between Act II Scene 1 and 2 on 17 Dec. 1944.

Page 81. VE day, and the Beethoven 5th are on 08 May 1945.

Page 84. The Martucci B-flat minor Op. 66 is Concerto No. 2. The
pianist is spelled d'Attili.

Page 88. What is the correct location for the 06 April 1947 Die
Walkure. My Arkadia LPs say Carnegie Hall, but I suspect 8-H.

Page 91. Tommasini Carnival of Venice missing from 13 Mar. 1948.

Page 99. The Giordano says Prelude to Act III but page 161 says Act
II. Marsh says Act II.

Page 105. The 24 Nov. 1951 is the Meistersinger Act III Prelude.

Page 105. 22 Dec. 1951 Fountains of Rome. Is this the Fountains that
is on FM?

Page 105. 5 Jan 1952 Psyche and Eros movement only.

Page 108. The Martucci B-flat minor Op. 66 is Concerto No. 2.

Page 108. Rossini William Tell Overture missing from 17 Jan. 1953.

Page 109. 7 Mar. 1953 Lohengrin Prelude is Act III.

Page 112. 14 Mar 1954 concert missing.
Vivaldi: Concerto Grosso in d, Op. 3, No. 11
Verdi: Te Deum
Boito: Mefistofele Prologue with Moscona

Page 112. Mar 21 concert labeled 14th.

Page 118. Bach Suite No. 3 Air which was not broadcast is not
included.

Page 118. Date for Aire should be 4 Apr. 1942.

Page 120. Missa Solemnis on 28 Dec. 1940 not 18.

Page 121. Egmont 19 Nov. 1944 not 12th.

Page 121. Egmont 14 May 1940 not listed.

Page 121. Fidelio Overture 29 Oct 1944 does not exist. The Leonore
No. 1 was played on that day.

Page 121. Symphony No. 1
06 Feb. 1938 not listed but does not show up in Marsh either.
24 Mar. 1943 not listed
22 Oct. 1944 not listed
21 Sep. 1947 not 01
22 Dec. 1951 not listed
29 Mar. 1952 not listed

Page 121. Symphony No. 3 recording 6 Dec. 1953 not Jan.

Page 121. VE day, and the Beethoven 5th are on 08 May 1945.

Page 122. Symphony No. 9 broadcast 29 Mar. 1952 not Feb.

Page 132. I'm not sure Queen Mab was included on 05 Apr. 1941, but
Love scene was.

Page 136. Boccherini Minuet from 4 Apr 1943 not 11 and 27 Aug. 1944
not 8th.

Page 137. Borodin from 26 Feb 1938 not 19th.

Page 138. Handel Variations 07 Jan 1939 not 17.

Page 138. Tragic from 15 Jan. 1938 not Oct.

Page 138. Brahms Serenade recording from 27 Dec 1942 not Nov.

Page 138. Symphony No. 1 Washington D.C. broadcast of 14 May 1940 not
included.

Page 138. Symphony No. 1 24 Mar. 1943 not included.

Page 138. Brahms Symphony No. 2 3 Jan 1943 not 1942.

Page 138. Brahms Symphony No. 3 25 Feb 1950 not 26.

Page 138. Brahms Handel Variations 7 Jan 1939 not 17.

Page 138. Haydn Variations 17 Nov. 1946, not 07.
25 Feb 1950 not listed.

Page 148. Busonie Berceuse 13 Mar 1948 not 03 Nov.

Page 148. C-T Fairy Tale Overture 25 Nov. 1945 not 12.

Page 148. C-T Shrew Overture 26 Mar 1944 not 03.

Page 149. Anacreon of 22 Dec 1951 not included.

Page 151. Debussy Marche 13 Apr 1940 not 3.

Page 151. Image 27 Mar. 1948 not 02.
25 Mar. 1950 missing.

Page 154. Sorcerer 20 June 1943 not Jan.

Page 157. I have used the spelling Enescu instead of Enesco.

Page 159. Eolides 02 July 1944 not 07 Feb.

Page 159. Should include Psyche's Slumber for 14 Jan. 1939.

Page 160. American in Paris broadcast 18 Feb 1945 not Mar.

Page 162. Gluck Iphigenia 8 Feb 1941 not 18

Page 165. Grofe Grand Canyon CD shows 10 Sep 1945 not 11.

Page 165. Handel Concerto Grosso in b
19 Feb. 1938 not 18
22 Nov. 1947 not 27

Page 166. Haydn Symphony No. 31 29 Oct 1938 not 27.

Page 173. Kabalevsky Symphony No. 2 of 08 Nov. 1942 missing.

Page 176. Martucci Canzone 29 Mar. 1941 not Feb.

Page 176. Martucci Op. 66 is Concerto No. 2

Page 176. Martucci Notturno, Novelletta 15 Oct 1938 not 13

Page 176. Martucci Tarantella 19 Feb 1938 not 13.

Page 176. Martucci Symphony No. 1 26 Nov 1938 not Jan.

Page 177. Octet Scherzo 18 Feb 1945 not Mar.

Page 180. Dinorah 12 Nov. 1938 not Jan.

Page 181. Symphony 38 04 Feb 1939 not 14 Feb. 1938.

Page 186. Boris Act III 4 Apr. 1943 not 11.

Page 190. Fountains 04 Feb. 1939 not 14.

Page 192. Passo 19 Nov. 1938 includes Soldiers ballet.
Passo 05 Jan 1952 not included.
Passo 31 Jan 1953 not 05.

Page 195. Symphony No. 9 01 Jan. 1938 not 1939.

Page 198. Manfred 31 Jan 1953 not 3.

Page 198. Symphony No. 3 8 Feb. 1945 not Mar.

Page 201. Marsh does not show a 7 Dec. 1940 En Saga but there is a 26
Feb. 1949.

Page 205. Piedmont Suite 12 Apr. 1941 not 21.

Page 205. Bartered Bride 26 Nov. 1938 not Jan.

Page 205. Moldau 11 Mar. 1950 not 15.

Page 205. Star-Spangled banner played on
14 May 1940 in Washington D.C.
25 Apr. 1943 War Bond concert listed in Marsh
18 Apr. 1944 listed on page 74 for War Bond concert.

Page 206. Voices of Spring 18 July 1943 missing.

Page 206. Polka 15 Feb. 1941 not 02.

Page 206. Polka recording 06 May 1941 not 05 June 1941.

Page 211. Petrushka broadcast 21 Dec 1940 not Jan.

Page 213. Symphony No. 6 25 Apr. 1943 not listed.

Page 213. Symphony No. 6 18 Apr. 1944 not listed.

Page 218. Hymn 31 Jan 1943 not 03.

Page 218. Otello Ballet Music from 31 Jan. 1943, 27 Jan. 1946, and 13
Mar. 1948 not listed.

Page 218. Te Deum 27 Jan. 1951 not listed.

Page 218. Un Ballo aria Eri tu from 25 July 1943 not listed.

Page 224. Dutchman 26 Feb. 1938 not 19.

Page 225. Siegfried Idyll recording 29 July 1952 not 1953.

Page 225. Meistersinger Prelude Act I 24 Mar. 1943 not listed

Page 225. No performance of P & GFS on 05 Mar. 1939.

Page 225. Forest Murmurs of 30 Nov. 1942 was a NY Phil performance
which should not be included.

Page 226. Overture & Bacchanale from 25 Feb. 1939 missing.

Page 226. Tristan & Isolde
Prelude only 22 Feb 1941.
P & L 24 Mar 1943 not listed
P & L 25 May 1944 Madison Square Garden not listed.
P & L CD lists recording as 07 Jan 1952 not 03.
Page 226. Ride from 25 May 1944 Madison Square Garden not listed.

Page 232. Skaters Waltz 25 June 1944 not 26.

Page 233. Freischutz recording 03 Jan. 1952 not 05 Aug 1952 according
to CD.

Page 233. Invitation from 04 Feb 1939 not listed.

Page 290. Dorfman should have one "n"

Page 291. 1939 Egmont on 60267 not 60268.
Quartet 08 Mar. 1938 not 18.
Symphony No. 3 74321-55835 not 5583.

Page 292. Symphony No. 5 74321-55836 not 55835.
Symphony No. 6 60254 not 60255.
Symphony No. 9 74321-55837 not 55836.
Roman Carnival 19 Jan. 1953 not 10 which was broadcast.
17 Feb 1947 R&J on 60275 not 60274.

Page 293. Double Concerto 13 Nov. 1948 not 06.
Hungarian Dances 74321-59484 not 75321
Tragic Overture 22 Nov. 1953 on 60258 not listed
Haydn Variations CDs show 04 Feb. 1952 not 02.

Page 294. Sorcerer Studio 8-H not Carnegie Hall.

Page 295. Grofe LP says 11 Sep, CD says 10 I don't know which is
correct.
Haydn No. 94 26 Jan. 1953 not 1952.
Haydn No. 101 Studio 3-A for 1946 material.
Zampa also on 74321-66924

Page 297. Prokofiev No. 1 15 Oct. 1951 not 11.
Rossini Barber 28 June 1945 not Jan.
Rossini Cenerentola 08 June 1945 not 28.

Page 298. Finlandia 74321-59484 not 59584
Strauss D&T 74321-59484 not 559484

Page 300. Tchaikovsky Romeo & Juliet 08 Apr. 1946 60298 not listed.
Verdi Falstaff 74321-72372 not 723722

Page 301. Wagner D&SRJ from 22 Dec 1949 also on 74321 59482

Page 302. Lohengrin Prelude Act I and III also on 74321-59482
Parsifal Prelude & GFS also on 74321-59482
Forest Murmurs on 60304 not 60305. Also on 74321-59482
Siegfried Idyll also on 74321-59482
Tannhauser also on 74321-59482

Page 303. Tragic on 25 Oct 1937 not 19 according to EMI CD
Magic Flute 02 June 1938 not 06 according to Biddulph CD
La Scala di Seta 13 June 1938 according to Biddulph
Invitation to the Dance 14 June 1938 according to Biddulph
Creatures 01 June 1939 not 06 according to EMI LP

Page 304. Brahms No. 2 Philharmonia 29 Sep 1952 not 19
Brahms No. 3 Philharmonia 01 Oct 1952 not 02
Brahms No. 4 Philharmonia 01 Oct 1952 not 02
Brahms Variations Philharmonia 01 Oct 1952 not 02
Enigma 03 June 1935 not 05.

Page 305. Faust 03,05 June 1935 not 12.

Page 307. Beethoven Choral my copy tracks just fine.

Page 307. Coriolan 24 Nov. 1946 not Dec.

Page 307. Concerto No.3 24 Nov. 1946 not Dec.

Page 307. Egmont 12 Nov. 1944 on 8.110826 not 11026.

Page 308. Symphony No. 7 18 Nov. 1939 on 8.110814 not 8.110184.

Page 308. Symphony No. 8 25 Nov. 1939 not Jan.

Page 309. Brahms Concerto No.2 on M&A 1077 not 1007

Page 309. Brahms Serenade No. 1 4th mvmt. 06 Nov. 1948 not 11.

Page 309. Brahms No. 3 31 Mar. 1946 not 1948 on M&A 1077 not 1007.


- Glen

Toscanini Web Site
http://www.laden-gould.com/toscanini
Dontaitchicago
2004-06-26 00:35:44 UTC
Permalink
Subject: Mortimer Frank
Date: 6/24/2004 11:51 AM Central Standard Time
I do not think we have ever stated our opinionated opinions on Mr.
Frank. His enthusiasm regarding Toscanini is quite comendable. His
book, I find, to be a reference book and not one that has opinions
worthy of further study
For example, for those who have downloaded my mp3s of the Haydn 104,
Frank said that the outer movements were lacking in inflection. I do
not find that at all. IIRC, he dismissed the Oxford as graceless. I
just finsihed remastering that and that is not the case.
Regarding, which transfer is best, keep in mind, he likes reverb (did
you get that Glen!!!).
In my experience, the recommendations regarding performance and sound
of the Toscaniini legacy are better served by B.H. Haggin and Harris
Goldsmith and those in this group.
Is his study of Toscanini as "matter of fact" as the NBC personel list
in his book?
How is he as a reveiwer of other conductors?
Is he related to Philip Frank, violist of thre NBC Symphony?
Where does Mr. Frank stand in the view of the esteemed members of this
group?
Abbedd
I am late to this but as an old collector who remembers when Toscanini was
alive, saw him live on television, and was influenced as a boy by Victor and
NBC advertising that he was assuredly "the greatest," may I contribute?

I have come to believe that he may indeed have been "the greatest," although
depending upon one's feelings Furtwangler could have been that - as Mahler may
well have been before. And one must know every live Toscanini performance as
one must know every surviving Furtwangler - they both were different every
time. But Mortimer Frank's judgements are what concern us here.

I like his Toscanini book. His evaluations seem balanced. He is not averse to
saying that sometimes Toscanini's preserved performances weren't good.
Toscanini, who was almost pathologicallly self-doubting and evidently insecure,
seems to have usually thought that about what he did as a conductor.

The problem with Mortimer Frank arises when he writes about any other
conductor. Bruno Walter, for one. It is obvious from what Mister Frank has
written for various journals (including Classic Record Collector) that he
regards Bruno Walter with contempt: no Frank comment about anything about
Walter, anywhere in any publication, passes without the crack that "this is
rhythmically unstable." Over, over, over again: "rhythmically unstable" - Bruno
Walter is a bad conductor because Frank says so, but never what that means.

Harris Goldsmith is another case: remember his lovely High Fidelity review
circa 1963 of Barbirolli's BBC SO Eroica when it was issued on Angel? Quote:
"This is in the slushy, mushy Bruno Walter tradition."

But you know, when you love somebody and must perforce hate someone you've
been taught is the enemy (Furtwangler/Toscanini/Walter et cetera), decisions
just have to be made.

Don Tait

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