[f_minor] GG - The Acoustic Orchestrations - Scriabine & Sibelius

maryellen jensen maryellenjensen28 at hotmail.com
Thu Jun 27 17:10:10 MDT 2013

Ted Geller nice to meet you:  Bienvenue Welcome Valkommen Willkommen

This is a bit late of me but thank you for sending along the marvellous Paul Theberge link. 

I offer you here some not yet mentioned links etc on the subject of your original e-mail: 

 from the promotional blurb on Amazon, I can't seem to find out much 
more about the release.  I've had a preliminary look at the f-minor 
archive but don't see any discussion of it here either (mind you, I 
could have easily missed something).  Does anyone have any background 
information on the Scriabin recording?  Are the Sibelius tracks new as 
well or are they reissues?  Has there been any previous discussion of 
the disc on this list (or elsewhere)?  Any info would be much appreciated, Ted"

Are you familiar with the B. Monsaingeon 1974 documentary "The Alchemist"? If not, do watch these two segments from Part Two which address the Scriabine recordings (in the original film Chapter 6 "The Magic of Mixing" and Chapter 7 "Scriabine"):
First discussion of acoustic orchestration begins at about 02:55  
Scriabine "Preludes" recording session filmed here:

The entire documentary (The Alchemist) is available on youtube. It is all "staged" as it could possibly be. 

Books: "Glenn Gould At Work: Creative Lying" - Andrew Kazdin; "Wondrous Strange" - Kevin Bazzana

According to Andrew Kazdin the Scriabin Sonata 5 was recorded at Columbia 30th St. Studio New York City using four different simultaneously recorded perspectives. "The Alchemist" documentary substitutes Andy Kazdin (producer) with a 'stand-in' named James Kent recording "Desire". Kevin Bazzana puts this down to Gould's penchant for "privacy" which is utterly belied by the presence of Lorne Tulk. Bazzana does his best to "explain" the inexplicable but best to read Kazdin's book which describes exactly the recording processes when, where, how...Gould did a lot of dirty to 
Andrew Kazdin who worked tirelessly for Gould as his producer for nearly two  decades. Paul Myers got a lot of the same shabby 
treatment from Gould: cold indifference to intimate collaborators. Imagine the Beatles substituting anyone else to play the part of George Martin in a film of a recording session? NOT as Pat Zumst commented: Kazdin's book is just the cashing in of someone who drove the band bus for years ... nor as Anne Marble commented that Andrew Kazdin is just a bitter grouch.

This madness circulating about Gould predicting or creating "the mash-up culture" is such a load of red bulging bullocks that I swear I shall become really truly obscene on the matter. GET A GRIP. 

Mary  (a sort of belated exasperation/tirade)

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