On Oct 28, 2:23�pm, Dontaitchic... at (no spam) aol.com wrote:





On Oct 28, 12:54 pm, "Peter T. Daniels" <gramma... at (no spam) verizon.net> wrote:

On Oct 28, 11:44 am, Bob Harper <bob.har... at (no spam) comcast.net> wrote:

Until a few years ago, CSO broadcasts were recorded by engineers from
WFMT. I know that is no longer the case, but I wonder whether the
engineers from the record companies during and after WFMT's involvement
in broadcasts talked with WFMT's people and learned from them how to get
the best sound out of Orchestra Hall. I suspect Don Tait might have
something to say about this, if he chooses to do so.

Remember Orchestra Hall was rebuilt (yet again) a few years ago, so
all the experience of WFMT's engineers might be for naught.

� Orchestra Hall's last renovation was in mid-1997. WFMT went on
recording the concerts for broadcast until funding for the broadcasts
was lost in autumn 2001. I was told by our main engineer about the
different microphone placements he used and finally settled upon to
adjust to the altered acoustics in the years after autumn 1997.

So it took "years" to "settle on" a solution. Do the broadcasts (or
apparently, the performance tapes) now sound as good as the broadcasts
before?

�Recording performances live for release was begun by companies
during
the 1980s (the Bernstein Shostakovich symphonies date from 1987). In
any case, I had the impression that Bob Harper's question concerned
the fifteen or so years when WFMT's and the companies' engineers were
both working live. Again, I'll try to ask some questions and reply.

� Don Tait

On Oct 28, 3:32 pm, "Peter T. Daniels" <gramma... at (no spam) verizon.net> wrote:





On Oct 28, 2:23 pm, Dontaitchic... at (no spam) aol.com wrote:

On Oct 28, 12:54 pm, "Peter T. Daniels" <gramma... at (no spam) verizon.net> wrote:

On Oct 28, 11:44 am, Bob Harper <bob.har... at (no spam) comcast.net> wrote:

Until a few years ago, CSO broadcasts were recorded by engineers from
WFMT. I know that is no longer the case, but I wonder whether the
engineers from the record companies during and after WFMT's involvement
in broadcasts talked with WFMT's people and learned from them how to get
the best sound out of Orchestra Hall. I suspect Don Tait might have
something to say about this, if he chooses to do so.

Remember Orchestra Hall was rebuilt (yet again) a few years ago, so
all the experience of WFMT's engineers might be for naught.

Orchestra Hall's last renovation was in mid-1997. WFMT went on
recording the concerts for broadcast until funding for the broadcasts
was lost in autumn 2001. I was told by our main engineer about the
different microphone placements he used and finally settled upon to
adjust to the altered acoustics in the years after autumn 1997.

So it took "years" to "settle on" a solution. Do the broadcasts (or
apparently, the performance tapes) now sound as good as the broadcasts
before?

  I didn't write that it took "years" to "settle on" a solution after
the 1997 renovation. I wrote nothing about how long it took to find a
good WFMT microphone setup for the broadcasts after that. It only took
him a week or two of position testing during rehearsals. At least
that's what I remember being told. I wrote here that I would check
with our engineers and report back. What I wrote might not have been
clear. But that it took years is incorrect.

  The broadcast tapes are now being made by an NPR crew, I think. I
don't know how they compare to what was done before by WFMT. Please
check the rest of my message, which you have quoted below.

  Don Tait

   > > Recording performances live for release was begun by companies
during



the 1980s (the Bernstein Shostakovich symphonies date from 1987). In
any case, I had the impression that Bob Harper's question concerned
the fifteen or so years when WFMT's and the companies' engineers were
both working live. Again, I'll try to ask some questions and reply.

On Oct 28, 5:06�pm, Dontaitchic... at (no spam) aol.com wrote:

� The broadcast tapes are now being made by an NPR crew, I think. I
don't know how they compare to what was done before by WFMT. Please
check the rest of my message, which you have quoted below.

Nothing there about NPR; anyway no NPR classical programming is heard
in NYC, unless they've added some since WNYC took over WQXR a few
weeks ago and moved it up to 105.9 where I can barely receive it even
though I can see the Empire State Building from my rear windows.



� Don Tait

� �> > Recording performances live for release was begun by companies
during

the 1980s (the Bernstein Shostakovich symphonies date from 1987). In
any case, I had the impression that Bob Harper's question concerned
the fifteen or so years when WFMT's and the companies' engineers were
both working live. Again, I'll try to ask some questions and reply.

Don - returning to the original question - were both Shostakovich 1
and 7 performed in the same concert? I read somewhere a long time ago
(probably on this forum) that there was some Richard Strauss performed
as well - was that really so?

Thanks for any info

Ed

On Oct 28, 10:35 pm, "Peter T. Daniels" <gramma... at (no spam) verizon.net> wrote:





On Oct 28, 5:06 pm, Dontaitchic... at (no spam) aol.com wrote:

The broadcast tapes are now being made by an NPR crew, I think. I
don't know how they compare to what was done before by WFMT. Please
check the rest of my message, which you have quoted below.

Nothing there about NPR; anyway no NPR classical programming is heard
in NYC, unless they've added some since WNYC took over WQXR a few
weeks ago and moved it up to 105.9 where I can barely receive it even
though I can see the Empire State Building from my rear windows.

Don Tait

Recording performances live for release was begun by companies
during

the 1980s (the Bernstein Shostakovich symphonies date from 1987). In
any case, I had the impression that Bob Harper's question concerned
the fifteen or so years when WFMT's and the companies' engineers were
both working live. Again, I'll try to ask some questions and reply.

  (Oct. 29)

  No, the rest of my message did not say anything about NPR. I never
said it did.

  I'll try to explain in as great detail as I can.

  WFMT produced, and its engineers recorded, the concerts and
broadcasts of the Chicago Symphony from 1965 to 1968, and 1976 to
2001. (There were no broadcasts or archival recordings in the interim
due to various disputes.) In autumn 2001, funding for broadcasts was
lost and concerts were replaced by programs of CSO recordings.
Recording of CSO concerts for archival purposes was begun about 2004
or 2005, done by WFMT engineers, but broadcasts of concerts did not
resume until the spring of 2007.

  For that, the CSO's management decided to completely remove anything
relating to the broadcasts from WFMT -- except for one thing, to be
explained below --and brought in NPR people, and an NPR recording
crew, to engineer the recordings of concerts and produce and narrate
them. CSO broadcasts are now being produced by people from NPR.

  WFMT's only remaining connection to the broadcasts, aside from
broadcasting them, is that they are syndicated by the WFMT Network.
Importantly: some stations that subscribe to the series have no
connection at all to NPR. They get the programs from WFMT, which
handles the arrangements and supplies them with the broadcast sources
(now CDs and cue sheets). So to be on the air in New York City, CSO
concert broadcasts wouldn't necessarily have to be broadcast by an NPR
affiliate such as WNYC. Any station willing to pay to subscribe to
them could get them.

  It isn't necessary to be part of NPR to broadcast things they
produce, and in this CSO program case the WFMT Networks handle
everything. WFMT isn't part of NPR, but it does sometimes broadcast
NPR productions (the NPR station in Chicago is WBEZ).

  Please ask if this doesn't explain this matter clearly. I want to do
so.

Dontaitchic... at (no spam) aol.com appears to have caused the following letters to be
typed in news:fcc6f31c-8ce5-46f1-9581-
69df4c8b3... at (no spam) b25g2000prb.googlegroups.com:

  For that, the CSO's management decided to completely remove anything
relating to the broadcasts from WFMT -- except for one thing, to be
explained below --and brought in NPR people, and an NPR recording crew, to
engineer the recordings of concerts and produce and narrate them. CSO
broadcasts are now being produced by people from NPR.

For me, at least, that's not an improvement.  I am highly suspicious of NPR's
apparent desire to proclaim itself The One True Keeper Of Classical Music in
the United States.

(I'll always remember the time Mara Tapp had a tubist during
Northwestern's Tuba Festival and mocked "Tubby the Tuba." BTW does
anyone know of a recording of the full work? I looked for it for years
after that interview, and all I've ever been able to find is a pop-
song-length version featuring Danny Kaye rather than the tuba. The
Schwann Catalog used to list a French recording paired with Poulenc's
Babar, but it was on a label that couldn't be gotten.)

For that, the CSO's management decided to completely remove anything
relating to the broadcasts from WFMT -- except for one thing, to be
explained below --and brought in NPR people, and an NPR recording crew, to
engineer the recordings of concerts and produce and narrate them. CSO
broadcasts are now being produced by people from NPR.

On Oct 30, 10:39�am, "Matthew�B.�Tepper" <oy� at (no spam) earthlink.net> wrote:

Dontaitchic... at (no spam) aol.com appears to have caused the following letters to be
typed in news:fcc6f31c-8ce5-46f1-9581-
69df4c8b3... at (no spam) b25g2000prb.googlegroups.com:

� For that, the CSO's management decided to completely remove anything
relating to the broadcasts from WFMT -- except for one thing, to be
explained below --and brought in NPR people, and an NPR recording crew, to
engineer the recordings of concerts and produce and narrate them. CSO
broadcasts are now being produced by people from NPR.

For me, at least, that's not an improvement. �I am highly suspicious of NPR's
apparent desire to proclaim itself The One True Keeper Of Classical Music in
the United States.

Hmm. When I was in Chicago, WBEZ had nothing to do with classical
music -- they fancied themselves the Keepers of Jazz. Of course in
those days there were three, and then two, classical FM stations.

(I'll always remember the time Mara Tapp had a tubist during
Northwestern's Tuba Festival and mocked "Tubby the Tuba." BTW does
anyone know of a recording of the full work? I looked for it for years
after that interview, and all I've ever been able to find is a pop-
song-length version featuring Danny Kaye rather than the tuba. The
Schwann Catalog used to list a French recording paired with Poulenc's
Babar, but it was on a label that couldn't be gotten.)

On Oct 30, 9:50 am, "Peter T. Daniels" <gramma... at (no spam) verizon.net> wrote:

(I'll always remember the time Mara Tapp had a tubist during
Northwestern's Tuba Festival and mocked "Tubby the Tuba." BTW does
anyone know of a recording of the full work? I looked for it for years
after that interview, and all I've ever been able to find is a pop-
song-length version featuring Danny Kaye rather than the tuba. The
Schwann Catalog used to list a French recording paired with Poulenc's
Babar, but it was on a label that couldn't be gotten.)

A recording with Arthur Fiedler & the Pops is available:

http://www.arkivmusic.com/classical/album.jsp?album_id=178440

though it's not listed on the contents there. Julia Child is the
narrator and Chester Schmitz the tubist.

On Oct 30, 9:50 am, "Peter T. Daniels" <gramma... at (no spam) verizon.net> wrote:
On Oct 30, 10:39 am, "Matthew B. Tepper" <oy at (no spam) earthlink.net> wrote:
Dontaitchic... at (no spam) aol.com appears to have caused the following letters to be
typed in news:fcc6f31c-8ce5-46f1-9581-
69df4c8b3... at (no spam) b25g2000prb.googlegroups.com:

For that, the CSO's management decided to completely remove anything
relating to the broadcasts from WFMT -- except for one thing, to be
explained below --and brought in NPR people, and an NPR recording crew, to
engineer the recordings of concerts and produce and narrate them. CSO
broadcasts are now being produced by people from NPR.

For me, at least, that's not an improvement. I am highly suspicious of NPR's
apparent desire to proclaim itself The One True Keeper Of Classical Music in
the United States.

Hmm. When I was in Chicago, WBEZ had nothing to do with classical
music -- they fancied themselves the Keepers of Jazz. Of course in
those days there were three, and then two, classical FM stations.

  Yes, WBEZ still has nothing to do with classical music. They dropped
the 8 PM-5 AM jazz programming four or five years ago, and now play
news and "public affairs" programming during that time. Much of it is
rebroadcasts of what they'd played earlier in the day. A few of the
NPR classical music-oriented things WBEZ didn't want have been
broadcast on WFMT, but only a few.

(I'll always remember the time Mara Tapp had a tubist during
Northwestern's Tuba Festival and mocked "Tubby the Tuba." BTW does
anyone know of a recording of the full work? I looked for it for years
after that interview, and all I've ever been able to find is a pop-
song-length version featuring Danny Kaye rather than the tuba. The
Schwann Catalog used to list a French recording paired with Poulenc's
Babar, but it was on a label that couldn't be gotten.)

  Unfortunately I missed Mara Tapp's broadcast about "Tubby the Tuba."
My loss, I'm sure. I know of the first (perhaps) recording of the work
(story by Paul Tripp, music by George Kleinsinger) for Columbia
Records -- Victor Jory, narrator, with an orchestra conducted by Leon
Barzin. 1940s, probably. The recording probably had various
incarnations and perhaps even began on 78s; I own it on Columbia LP CL
671, which survived in the catalogue until the 1960s. Perhaps because
it was coupled with Peter and the Wolf with Basil Rathbone, conducted
by Stokowski: a popular title and famous recording of it, at least for
a long while, and something that might have caused the record to sell
well enough to justify its retention in the catalogue.

On Oct 30, 3:36�pm, Dontaitchic... at (no spam) aol.com wrote:





On Oct 30, 9:50 am, "Peter T. Daniels" <gramma... at (no spam) verizon.net> wrote:
On Oct 30, 10:39 am, "Matthew B. Tepper" <oy at (no spam) earthlink.net> wrote:
Dontaitchic... at (no spam) aol.com appears to have caused the following letters to be
typed in news:fcc6f31c-8ce5-46f1-9581-
69df4c8b3... at (no spam) b25g2000prb.googlegroups.com:

For that, the CSO's management decided to completely remove anything
relating to the broadcasts from WFMT -- except for one thing, to be
explained below --and brought in NPR people, and an NPR recording crew, to
engineer the recordings of concerts and produce and narrate them. CSO
broadcasts are now being produced by people from NPR.

For me, at least, that's not an improvement. I am highly suspicious of NPR's
apparent desire to proclaim itself The One True Keeper Of Classical Music in
the United States.

Hmm. When I was in Chicago, WBEZ had nothing to do with classical
music -- they fancied themselves the Keepers of Jazz. Of course in
those days there were three, and then two, classical FM stations.

� Yes, WBEZ still has nothing to do with classical music. They dropped
the 8 PM-5 AM jazz programming four or five years ago, and now play
news and "public affairs" programming during that time. Much of it is
rebroadcasts of what they'd played earlier in the day. A few of the
NPR classical music-oriented things WBEZ didn't want have been
broadcast on WFMT, but only a few.

(I'll always remember the time Mara Tapp had a tubist during
Northwestern's Tuba Festival and mocked "Tubby the Tuba." BTW does
anyone know of a recording of the full work? I looked for it for years
after that interview, and all I've ever been able to find is a pop-
song-length version featuring Danny Kaye rather than the tuba. The
Schwann Catalog used to list a French recording paired with Poulenc's
Babar, but it was on a label that couldn't be gotten.)

� Unfortunately I missed Mara Tapp's broadcast about "Tubby the Tuba."
My loss, I'm sure. I know of the first (perhaps) recording of the work
(story by Paul Tripp, music by George Kleinsinger) for Columbia
Records -- Victor Jory, narrator, with an orchestra conducted by Leon
Barzin. 1940s, probably. The recording probably had various
incarnations and perhaps even began on 78s; I own it on Columbia LP CL
671, which survived in the catalogue until the 1960s. Perhaps because
it was coupled with Peter and the Wolf with Basil Rathbone, conducted
by Stokowski: a popular title and famous recording of it, at least for
a long while, and something that might have caused the record to sell
well enough to justify its retention in the catalogue.

But not its CD rerelease ...

On Oct 30, 4:14 pm, "Peter T. Daniels" <gramma... at (no spam) verizon.net> wrote:





On Oct 30, 3:36 pm, Dontaitchic... at (no spam) aol.com wrote:

On Oct 30, 9:50 am, "Peter T. Daniels" <gramma... at (no spam) verizon.net> wrote:
On Oct 30, 10:39 am, "Matthew B. Tepper" <oy at (no spam) earthlink.net> wrote:
Dontaitchic... at (no spam) aol.com appears to have caused the following letters to be
typed in news:fcc6f31c-8ce5-46f1-9581-
69df4c8b3... at (no spam) b25g2000prb.googlegroups.com:

For that, the CSO's management decided to completely remove anything
relating to the broadcasts from WFMT -- except for one thing, to be
explained below --and brought in NPR people, and an NPR recording crew, to
engineer the recordings of concerts and produce and narrate them. CSO
broadcasts are now being produced by people from NPR.

For me, at least, that's not an improvement. I am highly suspicious of NPR's
apparent desire to proclaim itself The One True Keeper Of Classical Music in
the United States.

Hmm. When I was in Chicago, WBEZ had nothing to do with classical
music -- they fancied themselves the Keepers of Jazz. Of course in
those days there were three, and then two, classical FM stations.

Yes, WBEZ still has nothing to do with classical music. They dropped
the 8 PM-5 AM jazz programming four or five years ago, and now play
news and "public affairs" programming during that time. Much of it is
rebroadcasts of what they'd played earlier in the day. A few of the
NPR classical music-oriented things WBEZ didn't want have been
broadcast on WFMT, but only a few.

(I'll always remember the time Mara Tapp had a tubist during
Northwestern's Tuba Festival and mocked "Tubby the Tuba." BTW does
anyone know of a recording of the full work? I looked for it for years
after that interview, and all I've ever been able to find is a pop-
song-length version featuring Danny Kaye rather than the tuba. The
Schwann Catalog used to list a French recording paired with Poulenc's
Babar, but it was on a label that couldn't be gotten.)

Unfortunately I missed Mara Tapp's broadcast about "Tubby the Tuba."
My loss, I'm sure. I know of the first (perhaps) recording of the work
(story by Paul Tripp, music by George Kleinsinger) for Columbia
Records -- Victor Jory, narrator, with an orchestra conducted by Leon
Barzin. 1940s, probably. The recording probably had various
incarnations and perhaps even began on 78s; I own it on Columbia LP CL
671, which survived in the catalogue until the 1960s. Perhaps because
it was coupled with Peter and the Wolf with Basil Rathbone, conducted
by Stokowski: a popular title and famous recording of it, at least for
a long while, and something that might have caused the record to sell
well enough to justify its retention in the catalogue.

But not its CD rerelease ...

  Details about that?

On Oct 30, 5:36�pm, Dontaitchic... at (no spam) aol.com wrote:





On Oct 30, 4:14 pm, "Peter T. Daniels" <gramma... at (no spam) verizon.net> wrote:

On Oct 30, 3:36 pm, Dontaitchic... at (no spam) aol.com wrote:

On Oct 30, 9:50 am, "Peter T. Daniels" <gramma... at (no spam) verizon.net> wrote:
On Oct 30, 10:39 am, "Matthew B. Tepper" <oy at (no spam) earthlink.net> wrote:
Dontaitchic... at (no spam) aol.com appears to have caused the following letters to be
typed in news:fcc6f31c-8ce5-46f1-9581-
69df4c8b3... at (no spam) b25g2000prb.googlegroups.com:

For that, the CSO's management decided to completely remove anything
relating to the broadcasts from WFMT -- except for one thing, to be
explained below --and brought in NPR people, and an NPR recording crew, to
engineer the recordings of concerts and produce and narrate them. CSO
broadcasts are now being produced by people from NPR.

For me, at least, that's not an improvement. I am highly suspicious of NPR's
apparent desire to proclaim itself The One True Keeper Of Classical Music in
the United States.

Hmm. When I was in Chicago, WBEZ had nothing to do with classical
music -- they fancied themselves the Keepers of Jazz. Of course in
those days there were three, and then two, classical FM stations.

Yes, WBEZ still has nothing to do with classical music. They dropped
the 8 PM-5 AM jazz programming four or five years ago, and now play
news and "public affairs" programming during that time. Much of it is
rebroadcasts of what they'd played earlier in the day. A few of the
NPR classical music-oriented things WBEZ didn't want have been
broadcast on WFMT, but only a few.

(I'll always remember the time Mara Tapp had a tubist during
Northwestern's Tuba Festival and mocked "Tubby the Tuba." BTW does
anyone know of a recording of the full work? I looked for it for years
after that interview, and all I've ever been able to find is a pop-
song-length version featuring Danny Kaye rather than the tuba. The
Schwann Catalog used to list a French recording paired with Poulenc's
Babar, but it was on a label that couldn't be gotten.)

Unfortunately I missed Mara Tapp's broadcast about "Tubby the Tuba."
My loss, I'm sure. I know of the first (perhaps) recording of the work
(story by Paul Tripp, music by George Kleinsinger) for Columbia
Records -- Victor Jory, narrator, with an orchestra conducted by Leon
Barzin. 1940s, probably. The recording probably had various
incarnations and perhaps even began on 78s; I own it on Columbia LP CL
671, which survived in the catalogue until the 1960s. Perhaps because
it was coupled with Peter and the Wolf with Basil Rathbone, conducted
by Stokowski: a popular title and famous recording of it, at least for
a long while, and something that might have caused the record to sell
well enough to justify its retention in the catalogue.

But not its CD rerelease ...

� Details about that?

I assume that if you had any, you'd have given them!

I suppose it might be possible that some pirater might have included
it by accident on a Stokowski disk. But those probably wouldn't be in
retail catalogs anyway.