Wilhelm Furtwängler - documentary

Joint Bavarian TV/BBC production, directed by Florian Furtwängler (ca. 1970)

Stokowski Rehearsing - Barber, Schubert, Rachmaninoff

In February 1968, Leopold Stokowski (Marylebone, 1882 - Hampshire, 1977) and his American Symphony Orchestra gave the opening concert in the new Madison Square Garden building. The programme included Beethoven's 'Leonore' Overture No. 3, Barber's 'Adagio for Strings' and Rachmaninoff's 'Paganini Rhapsody' with Jerome Lowenthal at the piano. Television cameras were on hand for one of the rehearsals and material was provided for two programmes. One consisted of just rehearsal excerpts and the other was a documentary entitled "Stokowski at 88."

Bruno Maderna - interview

01.1970

WEFM, Chicago / George Stone & Alan Stout  

Bruno Maderna (1920 Venice-1973 Darmstadt), Italian-German composer, conductor, teacher; also antifascist Resistenza-hero. One of the most insightful, amiable, stringent, vivid and creative musicians of the last century speaks out and, in spite of being critically ill, in his typical unassuming, humorous way at that.

He adresses his career and beginnings with Malipiero and Scherchen, Virgil Thompson's intervention, orchestras, their conductors, lack of education and their policies, especially vis à vis the new music and rehearsing it, and the innate stupidity of culture industry. The gravity towards Schoenbergianism.

Also included a curious anecdote that he recalls, about Hans Rosbaud concerning the composer Anton Webern... Enjoy.

For WEFM in Chicago, January, 1970. With George Stone & Alan Stout.

Entrevista a Luciano Berio

KPFA - 24.07.1962
Glenn Glasow

Recorded in July of 1962, this is a fascinating interview between composer, music professor, and KPFA presenter, Glenn Glasow, and the Italian avant-garde composer Luciano Berio (Imperia, 1925 - Roma, 2003), who had just joined the faculty at Mills College. In many ways this interview highlights the difficulty that many musicologists and listeners of traditional classical music, had dealing with the new, radical concepts being promoted by the likes of Berio, Pierre Boulez, and John Cage.

The interview begins with Glasow inquiring about Berio’s previous observation that a composer’s “attitude” or “conception” about life and society could be discerned from hearing their music. Berio suggests while there may be no obvious cause and effect relationship between a particular piece of music and current trends in society, he does feel that some works can reflect certain social conditions. Glasow does not fully agree with Berio’s attempts to trace those relationships, and wonders how pure music, removed from any knowledge about the composer’s life, could be interpreted in such a manner. Glasow also quizzes Berio on the idea that contemporary composer’s feel required to shock their audience. Berio considers this tendency toward protest a somewhat American phenomenon, which while not always agreeable may be required in certain societies. He thus defends the work of John Cage, and states that is many ways America deserves, nay even requires, John Cage. A concept that Glasow seems to accept, suggesting that perhaps America has lusted after culture to such a point, that Cage was prompted to make fun of such pretensions.

Stokowski: Ives Symphony No. 4 - Complete Performance & Introduction

Charles Ives's (1874-1954) 4th Symphony was given its World Premiere in 1965 by Leopold Stokowski (Marylebone, 1882 - Hampshire, 1977) and the American Symphony Orchestra. A few days later they made work's first recording and also played it in a televised studio performance, seen here, which was introduced by Stokowski and others, including co-conductors Jose Serebrier and David Katz, and John McClure, producer of the CBS recording.