Klarinet Archive - Posting 000997.txt from 1997/11

From: Roger Garrett <rgarrett@-----.edu>
Subj: Re: VICTOR de SABATA
Date: Wed, 26 Nov 1997 21:33:44 -0500

I simply LOVE these stories.....more, more, more!

RG

On Wed, 26 Nov 1997, avrahm galper wrote:

> 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
>