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In Reply to: RE: Techie Question posted by Chris from Lafayette on September 19, 2014 at 09:43:39
Hey Chris, Nice post on the Mercuries. They are many of my favorites also. I also agree Dorati was way under rated. I think if he had been the conductor of Chicago, Boston, or New York he would have been highly recognized. Also at the time Mercury was a small guy compared to RCA, Columbia and Decca. I would like to know when you say your computer played back copies sound better to you in what ways do they sound better. This certainly has to be a difference in the quality of the playback gear and not a difference in the quality of the actual source material.. Also bit perfect seldom is. There is still induced jitter, reclocking problems and noise problems. Things are much more complicated in ripping copies than just bits are bits.
Alan
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Another question is why Audirvana SW seems to make such a difference too. The improvements have to do with bass extension, clarity, and image stability. I honestly don't know why that should be the case, other than some of those other factors you mention are somehow in play.
was apparently a tempermental, difficult guy who didn't really calm down until old age. He might have had a hard time in Chicago, Boston or New York.
I have friends from the National Symphony (now retired) who were there from Howard Mitchell, to Dorati, to Rostropovich, to Slatkin, and they look at the Dorati years as the best ones of their career. He may have mellowed a bit in his relationships with the players, but he still had trouble with management. Dorati pretty much got himself fired. I can't recall the details right now, but they were negotiating a contract and Dorati basically drew a line in the sand, calling their bluff, and they told him to hit the bricks. They hired Rostropovich figuring that it would raise the reputation of the orchestra. Well, what happened was that Rostropovich got more famous for being the conductor of the NSO, but the NSO's reputation didn't come along for the ride.
"a tempermental, difficult guy" That defines most conductors.Toscanini, Reiner and Karajan are good examples.
Alan
Tempremental, maybe, but you pick three tempraments that are so radically different from each other that I'm not sure that says much.
Yes, and those three all had problems with their orchestras, didn't they? Especially Toscanini, though his players were devoted to him despite his outbursts of temper. Too bad he didn't get his own orchestra sooner.
Yes - I read that many LSO members didn't like working with him. And apparently, the more excited he would get during the rehearsals, the higher up in pitch his voice would go - and it was the high pitch that some of the players couldn't stand! ;-)
But what great results he obtained!
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