Klarinet Archive - Posting 000378.txt from 1999/06

From: Ken Wolman <kwolman@-----.net>
Subj: [kl] Encounter with AMG
Date: Fri, 11 Jun 1999 09:09:37 -0400

re: Roger meeting Gigliotti.

>He shared the following with me:
>
>1. Upon being reminded of the First Chair recording, he urged anyone
>interested in a rerelease of that recording to contact Sony and write a
>letter asking for a rerelease. He would like to see it released on CD.

He and the rest of the world. But does anyone know where within Sony to
write, or better, to WHOM? I suspect this is much like attacking the job
market: you need to get past the apparatchiks and functionaries who screen
all the mail, and get directly to the person at Sony who is in a position
to either do something or bend the ear of someone higher up who IS.

>2. There were two First Chair recordings - the second volume he
>played the Debussy Premiere Rhapsody.

Wow. Well, Sony rereleased all the Mozart wind stuff that Ormandy did with
the Philadelphia, a three-CD set, so a two-disker is not impossible.

>3. The Concertino version was done in one take - straight through -
>and it was at the end of a nine hour recording session.

Could a thing like this even happen in 1999? Are orchestral/solo
instrument recordings even done like that anymore, or have the engineers
completely taken over? Cetra, the Italian recording company, used to do
this with operas during their heyday during the 1940s and '50s. They'd put
the singers and orchestra in a studio, but everything would be done in one
take so you got the ambiance and interaction--okay, electricity--that come
with a live performance, even if there were some noticeable mistakes
(singers with poor intonation, etc.). But I don't remember Gigliotti
making any mistakes.

>4. The horn he played on was his father's 32,000 SN Buffet that he
>was given when he was a young man. At first he thought it was his 42,000
>Buffet, but upon reflection he was quite sure about the first. He was
>quite influenced by his father in terms of the way he played.

Was his father also a professional player? If so, where?

>Several months later, they recorded the Brahms Piano Concerto No. 2 and at
>the end of that session, Ormandy said,"Ok, let's finish the Mozart." No
>warning! So Gigliotti stood up and played the second movement straight
>through with no edits. Third movement had two edits (I think he said).
>He didn't even have a chance to pick a reed!!!

It's hard to believe, but then again...maybe it's not. That woodwind
section in the old Philadelphia...those guys were (to beat an old phrase to
death) consummate professionals. Probably still are. I bought the set for
Gigliotti's Mozart, but then discovered that whole disk of Mason Jones
playing the French horn.....

I envy you being able to talk to him.

Ken

Kenneth Wolman kwolman@-----.net
"From the Meadowlands": http://www.geocities.com/SoHo/Gallery/1649

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