Guest
On 2, 3, 4 and 5 October 1917, Karl Muck and the full Boston Symphony Orchestra - about 100 performers - assembled in the auditorium of the Office Building of the Victor Talking Machine Co. at Camden, New Jersey, for the making of a series of recordings. Ten sides were recorded over those four days, including the Prelude to Act 3 of 'Lohengrin,' which dates from 3 October 1917. From Wikipedia: Karl Muck (October 22, 1859 – March 3, 1940) was a German-born conductor of classical music. He based his activities principally in Europe and mostly in opera. His American career comprised two stints at the Boston Symphony Orchestra (BSO)... Solo performers praised his work with them. Artur Schnabel called Muck 'a very great master, whose reliability, maturity and selfless dedication are not equalled by any living artist.' Paderewski called him 'an ideal accompanist.' In physical terms, his conducting style required minimal movement, only small gestures with the tip of his baton. In areas of interpretation he was one of the first modernists. Though old enough to be part of generation known for taking liberties with the score and indulging in flexible tempos, he was by contrast disciplined and direct, less concerned with placing his personal stamp on a score than on demonstrating fidelity to the score and ceding a certain interpretive anonymity. By contrast with his conducting style, orchestra players found him impatient, explosive, nervous, and impulsive. He showed no casual or relaxed side of himself at concerts, rather 'he dominated the orchestra and the audience and the occasion.' The Austrian conductor Karl Böhm said in a 1972 interview, 'Karl Muck by chance heard me direct Lohengrin, and he invited me to study all Wagner's scores with him. He was the first and greatest influence on me ... Muck told me where the orchestra should be more prominent, how to handle the Bayreuth acoustics, and so on.' I transferred this side from Victrola 547.
