Word: mahlers
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...bands, a rich Follies orchestra in the pit and a downbeat jazz combo for the party on stage. Choreographer and co-director Michael Bennett has blended the dance steps of two generations, and Jonathan Tunick's orchestrations switch constantly from the Busby Berkeley sound to that of Mahler. Most important of all, the cast is filled with show business old-timers (prominent among them are Alexis Smith, Dorothy Collins, Gene Nelson Yvonne De Carlo, Ethel Shutta, Mary McCarty, Fifi D'Orsay and Ethel Barrymore Coh), all of whom are at once wonderful...
...Barbirolli managed to make Halle one of the world's leading orchestras, and in the process gained more control over his own florid style. The recordings which he made with the Halle during his decades of association with it are some of the finest in the literature. The Mahler First Symphony which he did with them for Vanguard is a definitive version, a masterpiece which puts to shame such recordings as the Leinsdorf version with the Boston Symphony, or Ormandy's frivolous attempt to incorporate the Blumine Movement into the work. His recordings of Mahler and Vaughan are all first...
Three years ago, he toured with the New York Philharmonic as a percussionist-and was severely chastised by Conductor Leonard Bernstein when he set off a rack of sleigh bells out of tempo, ruining the first movement of Mahler's Fourth Symphony. More recently he rode the high trapeze for the Ringling Brothers and Barnum & Bailey Circus and, as a one-line badman in a yet-to-be-released western (Rio Lobo), he was shot and killed by John Wayne, who never could decide whether the tall (6 ft. 4 in.) bit player's name was Plimpleton, Pembleton...
...seems to have a remarkably good balance between humility and hubris. In rehearsal he has no hesitation in asking the orchestra's advice on how to get effects. "At the end of last season," he says, speaking of his relations with the Boston Symphony, "when we did the Mahler Ninth, I realized how much I'd learned from them. And as I find out more, I can demand more." But when he reaches the podium there is never any doubt whose will is being done...
...does not admit superfluous notes, dynamic nourishes, believing that "gratuitous excess spoils every substance, every form that it touches." He is most traditional, and most original, in his use of severely-delineated polyphony, rhythm, text, and articulation. Stravinsky has always demanded austere linear counterpoint, a practice which recalls Mahler's dictum that "All music is counterpoint...