Klarinet Archive - Posting 000996.txt from 1997/11

From: avrahm galper <agalper@-----.com>
Subj: VICTOR de SABATA
Date: Wed, 26 Nov 1997 20:58:55 -0500

Victor de Sabata

Victor de Sabata, the Italian Maestro came to conduct us.
Another Toscanini. There were rumors of some US orchestra taking him to
the Musician's Union for being rough.
We weren't unduly alarmed.

Started right off with Till Eulenspiegel by Strauss.

Got to the bottom of the page, when de Sabata stopped.
With glaring eyes he looked at the orchestra and snarled:
"Ladies and Gentlemen. There are two schools of playing, good and bad.
This is BAD!!!

BEGINNING !

We had a group of percussionists who always sassed back at conductors.
When I asked them why they did this, they said "So the conductor will
know his place"

After a few minutes of De Sabata, one could only wish that the conductor
didn't look at you.
Let alone say anything to you.

One felt that you would be happy if the earth would swallow you up at
that instant.

It was a sensational concert. The audience couldn't get over how good it
was.

The second time de Sabata came, we played Pines of Rome. Everyone knows
the beautiful Clarinet solo in the piece.
At the very end of that movement, when the clarinet holds a long A,
one of the percussion players is supposed to start a record player with
the sounds of a bird.

At the concert I'm playing that long note.
Not a sound from the bird.

De Sabata gave one of those glares and started beckoning,"Come on
already, come on"!
I felt like laughing. It was hilarious to see his eyes popping out and
exhorting the percussionist to put the needle on the bird record. Go
laugh at such a critical point! Beside the air supply was dwindling.

Fortunately, the percussionist finally realized that its time.
NOW!
That was a close bird call!

Avrahm Galper

   
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