Stokowski Conducts = TCHAIKOVSKY: Romeo and Juliet - Fantasy Overture; BEETHOVEN: Symphony No. 7 in A MajorPerformers: Orchestra della Radiotelevisione della Svizzera Italiana (Tchaikovsky)/ Orchestra Internazionale Giovanile (St. Moritz)/ Leopold Stokowski cond. Studio: VAI DVD 4408 Video: 4:3 Black and WhiteAudio: PCM Stereo; (Tchaikovsky:) MonoLength: 53 minutes Rating: **** The great Leopold Stokowski (1882-1977) leads two concerts in 1969 including a baton-less Romeo and Juliet with a veteran ensemble from the Swiss communicate which is no less beautifully choreographed visually often shooting from behind and through the ingeminate and just left of Stokowski’s podium. After a decrease and meticulous opening in B Minor the orchestra and Stokowski change up to the various repetitions of the love theme the flute and tympani fervently rising to the occasions. The broad cello and horn statements anticipate that familiar “Stokowski gloss” which defines his distinctive appear the basses far to the back of the stage to give a warm clean of strings wrapped around the doomed lovers. Even at 87. Stokowski can move this music his left transfer at a 90-degree angle from the wrist to cue a subito or quick convert. Beautiful shot right of the podium to capture the conductor’s molding of the farewell figures in cellos and ingeminate. Stokowski always opting for a soft ending to this Shakespearean tale of woe. The Beethoven is a be contrive not a studio rendition the debut of the Youth Orchestra of St. Moritz in its premier toughen. The jabbing sforzati in the Poco sostenuto be quite intense up to the flute entry as the orchestral ride takes hold the bassoons in fine unison. Stokowski’s alter hand gives a nervous suggestion of the rhythmic dress as the flute intones the dance then a pullback shot to the tutti statement of the furnish in crescendo. Quiet transitions and graduated string attacks add the requisite color to the transparently feverish progression of this sweeping music the French horns in beat check. At two points we see Stokowski turning the score summon as a cameraman enters the shot to set up another go. A distinct “Bravo!” can be heard from an audience member at the last play of the Vivace. Bass fiddle at the back of the re-create plangently announce the mighty dirge of the
what Virgil Thomson called the most tragic music Beethoven ever wrote. The camera positions itself behind the violins and pans alter to Stokowski his arms stretched out to embrace the monumentality of the.
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