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1187:, commented, "There are some vivid glimpses of action here and there ⊠but the reader is left with the impression that the author has found the peculiar spiritual and material squalor, the hopeless disorganization of life in Germany during the early occupation period, rather too much for him." Culshaw himself later observed, "as a political thriller it was short on thrills and naïve on politics."
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307:⊠the cast was only of moderate ability, and we had access to far too few performances to make up anything really worth while. It was still felt that this was the only economic way to record Wagner, for the expense involved in taking his major works to the studio did not seem to be justified by the sales potential. But after the
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personal integrity which his precocious interest in music had helped form and deepen." While in the Fleet Air Arm, Culshaw "wrote articles on music by the dozen and â quite rightly â they came back by the dozen." After many rejections, his first substantial article to be accepted for publication was a piece on
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technique to produce recordings of unprecedented realism and impact. He disliked live recordings from opera houses, and sought to put on disc specially made studio recordings that would bring the operas fully to life in the listener's mind. In addition to his Wagner recordings, he supervised a series
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Culshaw wrote, "Sometimes you get fobbed off with a sort of electronic compromise; sometimes you get a tinkling sound made by a few people beating metal bars together: but you never get the firm, frightening sound of eighteen anvils hit with rhythmical precision and building into a deafening assault
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In these productions
Culshaw put into practice his belief that a properly-made sound recording should create what he called "a theatre of the mind". He disliked live recordings such as those attempted at Bayreuth; to him they were technically flawed and, crucially, were merely sound recordings of a
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obituarist wrote of him in 1980: "To meet John
Culshaw for the first time, quiet, charming, sharp-eyed but with no signs of aggressiveness about him, was to marvel that here was one of the two great dictators of recording art. If Walter Legge in a flash had one registering extrovert forcefulness in
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It was thanks to
Culshaw's devotion to Wagnerian intentions â ever encouraged by the engineer who was at his right hand through the whole project, Gordon Parry, himself a devoted Wagnerian â that in the Solti Ring cycle one is able to hear the scores in a way literally impossible in the theatre.
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Finding on his return to Decca that other recording producers were capably filling his former role, Culshaw concentrated on the emerging stereophonic recording technology, and stereo opera in particular. A year after his return he was made manager of the company's classical recording division, a
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with
Flagstad, whom he persuaded out of retirement, as BrĂŒnnhilde. Flagstad, however, was over sixty, and would not agree to sing the whole opera. To capture as much of her Wagner as she was willing to record, Culshaw produced separate sets of parts of the opera in 1957. Act 1 was conducted by
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Apart from piano lessons as a child, Culshaw was self-taught musically, and had no ambitions to be a performer. The critic and biographer
Richard Osborne wrote of him, "Like many people for whom music is an obsession, Culshaw was a lonely and meticulous person, jealously guarding the sense of
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was the finest. Greenfield says of it, "another recording which confounded the record world not just by its technical brilliance but by the way it sold in huge quantities." The recording was made in London in 1963, the year after the premiere of the
Requiem at the consecration of the new
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operas. It was recorded in 1958 and released in the spring of 1959. Culshaw engaged Solti, the Vienna
Philharmonic and a cast of established Wagner singers. The performance won enthusiastic praise from reviewers, and the engineers were generally acknowledged to have surpassed themselves.
328:, who generally took a dim view when his employees left Decca to join its competitors. Culshaw found his attempts to build up a roster of classical artists for Capitol frustrated by bureaucracy at the company's headquarters in Los Angeles. He was prevented from encouraging the soprano
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In early 1955, Lewis warned
Culshaw that he had heard rumours that Capitol was on the point of severing its ties with Decca. Within days it was announced that Capitol had been taken over by EMI. Capitol sessions already booked were completed, including two records of
826:(LSO), whose members were dressed not in evening clothes but in casual sweaters or shirts. The programme attracted unprecedented viewing figures for classical music; an historian of the orchestra wrote, "More British people heard the LSO play in
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as soon as he reached the minimum recruitment age in May 1942. He trained as a navigator, was commissioned as an officer, and promoted to lieutenant as a radar instructor. What spare time he had, he devoted to his passionate interest in music.
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the score calls for eighteen anvils to be hammered during two brief orchestral interludes â an instruction never followed in opera houses â Culshaw arranged for eighteen anvils to be hired and hammered. Similarly, where Wagner called for
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recording company in
November 1946, writing musical analyses and biographies of recording artists for Decca's classical albums. His first book, a short biography of Rachmaninov, was published in 1949 and was well received. The critic of
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with
Flagstad in the role of Sieglinde; in the other set the "Todesverkundigung" scene from Act 2 and the whole of Act 3 were conducted by Solti with Flagstad as BrĂŒnnhilde. In those early years of stereo, Culshaw worked with
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into a concert-hall. He later initiated the Benson and Hedges music festival at Snape and was planning the fourth season at the time of his death. Some of his BBC programmes have been preserved on DVD, including films of the
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theatrical performance. He sought to make recordings that compensated for the lack of the visual element by subtle production techniques, impossible in live recordings, that conjured up the action in the listener's head.
96:, where he remained until 1975, employing a series of innovations to bring classical music to the television viewer. He later undertook several academic posts. He remains best remembered for his Decca records; along with
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conducting his own works, but EMI made it clear that it would put an end to Capitol's classical activity, which was regarded as superfluous. Lewis invited Culshaw to rejoin Decca, which he did in the autumn of 1955.
635:(1968). Culshaw wrote, "The happiest hours I have spent in any studio were with Ben, for the basic reason that it did not seem that we were trying to make records or video tapes; we were just trying to make music."
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described the recording quality as "stupendous" and called the set "wonderful ⊠surpass anything done before." To the astonishment and envy of Decca's rivals the set outsold popular music releases such as those of
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Siegfried's voice made to sound like Gunther's, the voice of Fafner from his cave, not to mention the splendour of anvils and rainbow bridge harps in Rheingold, all transcend what is heard in the opera-house.
664:. He had a strong aversion to Mahler's music, writing that it made him feel sick: "not metaphorically but physically sick. I find his strainings and heavings, juxtaposed with what always sounds (to me) like
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By 1967 Culshaw wished for a change. He was growing disenchanted with the top management of Decca, which he believed had lost its pioneering enthusiasm. He moved from the record industry to become
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whose superb musicianship and deep insight into the opera must have inspired the whole of the cast â in which there is not a weak member â and the orchestra to give of their best." In
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Largely self-educated musically, Culshaw worked for Decca from the age of 22, first writing album liner notes and then becoming a producer. After a brief period working for
493:. The cast included Flagstad in one of her last recorded performances, in the role of Fricka, which she had never sung on stage. Culshaw hoped to record her as Fricka in
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the very picture of a dictator, John Culshaw's comparable dominance was something to appreciate over a longer span. ⊠e transformed the whole concept of recording."
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By 1947 Culshaw had been given the chance to produce classical sessions for Decca's rapidly expanding catalogue. At Decca, the musicians whom he recorded included
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in one week than in sixty-five years of LSO concerts." Culshaw also screened more formal concerts, including Klemperer's 1970 Beethoven symphony cycle from the
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344:, who signed Klemperer up with great artistic and commercial success. Capitol further frustrated Culshaw by ignoring the impending introduction of
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praised it for its discriminating judgment, conciseness and discretion. It was followed by two further books; a popular introduction to concertos (
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The recordings of the first three operas in the cycle were not successful, musically or technically, and have never been officially released. The
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728:, by which Decca teams recorded classical works in European venues on RCA's behalf. Among the recordings supervised by Culshaw for RCA were
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recording, on the other hand, was released to great acclaim in 1952. The Decca team returned to Bayreuth to record the 1953 performances of
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had used steerhorns or similar instruments until World War II, but the instruments went missing during the war years and were not replaced.
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In 1975, Culshaw left the BBC and worked freelance as a record and stage producer, writer and broadcaster. He was invited to serve on the
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and Britten. He took time off from the BBC to return to the recording studio, rejoining his old Decca engineering team in 1971 to produce
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40:
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1013:(1950) had been inspired by what he had seen during trips to ruined German cities in the aftermath of the war. It was chosen by
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as one of its books of the year in 1950. At the time of its publication he was working on a second novel. He gave it the title
960:. He also took on the responsibility for the annual United Nations concert in New York, and acted as a music consultant to the
278:. For Culshaw, Wagner was an abiding passion, and he persuaded Decca and the Bayreuth management to let him record that year's
551:, Culshaw arranged for them to be used instead of the trombones habitually substituted at Bayreuth and other opera houses. In
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in 1975 and was chairman of its music panel from 1975 to 1977. In 1977 he became a senior fellow in the creative arts at the
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wrote, "...the most moving and profound of spiritual experiences ... Decca have recorded, superbly, a superb performance".
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described them as "a priceless heritage for posterity." Culshaw persuaded Decca to make the first complete recording of
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675:'s best-known operatic and orchestral sets, which remain in the catalogues five decades later. The opera sets include
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called them "Decca's incomparable engineers") was in a position to embark on a complete studio recording of Wagner's
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experience I found myself fervently hoping that I would never return to Bayreuth, at least in a recording capacity.
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which the major companies were working on. Among the recordings Culshaw was able to make for Capitol were a Brahms
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A lesser-known part of Culshaw's work was writing fiction. He published two novels in the early 1950s; the first,
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135:, Lancashire, one of at least two children of Percy Ellis Culshaw, a bank inspector, and his first wife, Dorothy
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1104:, "All concerned with this issue have done a magnificent piece of work, but my last word of praise must be for
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147:, which he despised for its snobbery and its sports-obsessed philistinism. His father then sent him to
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43:(28 May 1924 – 27 April 1980) was a pioneering English classical record producer for
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written expressly for television. He also persuaded Britten to conduct television productions of
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Decca's marketing department promoted Culshaw's recording technique under the name "Sonic Stage"
151:, Southport. When he left school in 1940, aged 16, he followed his father into the staff of the
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intermission feature (scroll to "From The Archives â 1 March 1975 â John Culshaw discusses
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1274:, Oxford University Press, 2004; online edition, October 2006, accessed 4 December 2010]
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Porter wrote of its "sumptuous, spacious sound" and "inspired and inspiring performance"
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1001:", and the Vienna Philharmonic's Nicolai Medal in 1959 and its Schalk Medal in 1967.
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ran a poll of its readers to find "the ten greatest recordings ever made." The Decca
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Culshaw took unprecedented pains to meet Wagner's musical requirements. Where in
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described it as "an experience from the opera house that nobody ought to miss."
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118:, who seek to bring their love and knowledge of music to the widest audience."
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Culshaw left Decca in 1967 and was appointed head of music programmes for
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said of him that "he stood in that great tradition of propagandists from
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104:, he was one of the most influential producers of classical recordings.
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listed "eight Grands Prix des Disques, numerous Grammys and in 1966 an
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recording could not be released, probably for contractual reasons. The
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recording was more successful and was finally released, in 1999, when
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Culshaw died in London in 1980, at the age of 55, from a rare form of
303:. The resultant recording was well reviewed, but Culshaw wrote of it:
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in "The World of Music" series in 1949), and a guide to modern music (
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would talk informally direct to camera and then turn and conduct the
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503:, but her health did not permit it. His cast for the remaining three
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68:, Culshaw returned to Decca in 1955 and began planning to record the
435:. He also recorded the first of many New Year's Day concerts by the
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Culshaw (1981), pp. 202â04, 226â27, 231â32, 265, 269â70, and 322â33
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In the late 1950s Decca entered into a commercial partnership with
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included Culshaw among "the great impresarios of musical history".
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and several Richard Strauss works including the then rarely heard
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28:
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Putting the Record Straight: The Autobiography of John Culshaw
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Greenfield, Edward, "Virtuoso role for Heath the musician",
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calls "a series of remarkable recordings of performances by
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From 1953 to 1955 Culshaw headed the European programme for
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1871:"Culshaw's films make a compelling case for chamber music"
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position of great influence in the classical music world.
2005:
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Ring Resounding: The Recording of Der Ring des Nibelungen
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music of the most calculated type, downright repulsive".
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Culshaw thought of all his recordings, that of Britten's
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to emerge from retirement, or from signing the conductor
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After demobilisation from the forces, Culshaw joined the
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and to contribute articles to classical music magazines.
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Orchestra â The LSO: A Century of Triumph and Turbulence
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Robertson, Alec, "Parsifal, Pergolesi and Palestrina",
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In 1951, Culshaw and one of Decca's senior engineers,
1023:, but was persuaded by his publisher to change it to
603:'s music with the composer as conductor or pianist.
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By 1958 Decca, with its pre-eminent technical team (
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1817:Greenfield, Edward, "Five hours of TV Siegfried",
986:. He was unmarried. His unfinished autobiography,
844:, but the project never happened. In 1974 Verdi's
1738:"Ben â A Tribute to Benjamin Britten (1913â1976)"
599:Culshaw produced a series of Decca recordings of
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1914:. Oxford Music Online, accessed 4 December 2010
854:. Culshaw also set up BBC studio productions of
660:One composer Culshaw had nothing to do with was
19:For the English comedian and impressionist, see
914:in Suffolk and he encouraged them to transform
253:(LP), he produced the first LP versions of the
1961:Richardson, Maurice Lane, "Disordered Lives",
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572:, about the making of the recording. In 1999,
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469:cycle. Decca decided to begin its cycle with
1948:Widdicombe, Gillian, "Harmony and Discord",
964:. He frequently served as a commentator for
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3396:Officers of the Order of the British Empire
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1660:Harewood, Earl of, "Recording the Ring",
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806:Culshaw (left) in the Netherlands in 1963
3401:People educated at King George V College
2143:; you will need RealPlayer to hear this)
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1237:, obituary notice, 29 April 1980, p. 16.
1208:Osborne, Richard, "Long-playing label",
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1352:Howes, Frank, "Composer of Paradoxes",
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1272:Oxford Dictionary of National Biography
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900:, and to accompany Pears in Schubert's
732:'s lavishly re-orchestrated version of
671:Culshaw produced many of the conductor
361:Oxford Dictionary of National Biography
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568:was complete, Culshaw wrote a memoir,
16:Classical record producer from England
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1968:
1897:
1888:"Richard Strauss â Der Rosenkavalier"
1721:"Britten â A Midsummer Night's Dream"
1719:, June 1989, p. 83; and Blyth, Alan,
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1466:Porter, Andrew, "Wagner on Records",
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881:Culshaw commissioned Britten's opera
2006:British Library integrated catalogue
1707:Culshaw (1981), pp. 176â77 and 290;
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1560:Culshaw (1961), pp. 144, 146 and 173
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993:Among the honours given to Culshaw,
948:, and was visiting professor at the
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906:. Britten and Pears invited him to
425:, and with Solti in a recording of
155:as a clerk, working at a branch in
13:
2137:Metropolitan Opera radio broadcast
1856:Greenfield, Edward, "Music on 2",
1843:Fiddick, Peter, "Opera for some",
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962:Australian Broadcasting Commission
14:
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1983:Isaacs, J., "Books of the Year",
1268:"Culshaw, John Royds (1924â1980)"
990:, was published after his death.
971:performances, and his 1976 book,
954:University of Southern California
705:; among the orchestral sets were
358:, and what Peter Martland in the
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2070:. London: Secker & Warburg.
2051:. London: Secker & Warburg.
2025:. London: Secker & Warburg.
1926:"Pioneer of record production",
1573:everyone has been waiting for",
1440:Gramophone, October 1999, p. 126
139:Royds. He was educated first at
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1048:Reflections on Wagner's "Ring",
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946:University of Western Australia
653:, Dietrich Fischer-Dieskau and
595:recorded for Decca in the 1960s
245:. In 1948 he first worked with
1603:Culshaw (1967), pp. 91 and 124
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1030:Culshaw's musical books were:
973:Reflections on Wagner's "Ring"
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126:
77:of recordings of the works of
1:
2941:Arturo Benedetti Michelangeli
2108:. London: Chatto and Windus.
1963:The Times Literary Supplement
1662:The Times Literary Supplement
1354:The Times Literary Supplement
1338:"Rachmaninov Two Years After"
1304:Culshaw (1981), pp. 34 and 49
1210:The Times Literary Supplement
1184:The Times Literary Supplement
1052:Wagner: The Man and His Music
942:Arts Council of Great Britain
910:, not far from their base at
453:, Culshaw's chosen BrĂŒnnhilde
149:King George V Grammar School
121:
7:
2130:Link to talk by Culshaw on
2089:. London: Faber and Faber.
2068:Putting the Record Straight
1664:, 14 December 1967, p. 1204
988:Putting the Record Straight
584:Britten, Karajan and others
555:, Edward Greenfield wrote:
475:, the shortest of the four
10:
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2085:Morrison, Richard (2004).
2008:, accessed 5 December 2010
1780:Culshaw (1981), pp. 355â62
1713:"Britten â Albert Herring"
1621:Culshaw (1967), pp. 273â74
1509:Culshaw (1981), pp. 126â27
1212:, 26 February 1982, p. 202
1027:It was published in 1951.
816:André Previn's Music Night
315:
259:D'Oyly Carte Opera Company
18:
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3215:
3013:
2801:
2517:
2184:
2104:Osborne, Richard (1998).
1952:, 13 December 1981, p. 31
1834:, 13 November 1974, p. 28
1633:Culshaw (1967), pp. 23â26
1479:Culshaw (1967), pp. 46â47
824:London Symphony Orchestra
626:A Midsummer Night's Dream
564:In 1967, after the Decca
219:, conductor of the Decca
72:cycle, employing the new
3416:BBC television producers
3391:English record producers
2617:Dietrich Fischer-Dieskau
2044:Reflections on Wagner's
1987:, 31 December 1950, p. 7
1965:, 6 October 1950, p. 625
1860:, 16 November 1970, p. 8
1847:, 9 December 1974, p. 10
1771:Osborne, pp. 440 and 468
1588:"Wagner â Das Rheingold"
525:Dietrich Fischer-Dieskau
401:Culshaw hoped to record
185:
141:Merchant Taylors' School
3271:record label executives
2533:Victoria de los Ăngeles
2178:Gramophone Hall of Fame
1916:(subscription required)
1808:, 7 October 1969, p. 13
1727:, December 1996, p. 127
1470:, 23 January 1954, p. 3
1468:The Manchester Guardian
1111:The Manchester Guardian
958:University of Melbourne
863:The Yeomen of the Guard
754:; conductors including
718:Also sprach Zarathustra
370:Concertgebouw Orchestra
58:Der Ring des Nibelungen
2066:Culshaw, John (1981).
2040:Culshaw, John (1976).
2021:Culshaw, John (1967).
1996:Culshaw (1981), p. 101
1894:, January 1972, p. 101
1877:, February 2006, p. 93
1753:Culshaw (1981), p. 341
1744:, February 1977, p. 21
1698:Culshaw (1981), p. 177
1689:Culshaw (1981), p. 176
1680:, December 1999, p. 40
1651:Culshaw (1967), p. 190
1612:Culshaw (1967), p. 130
1500:Culshaw (1981), p. 125
1401:Culshaw (1981), p. 106
1356:, 24 June 1949, p. 410
857:The Marriage of Figaro
807:
774:; and singers such as
596:
562:
454:
354:conducted by Solti in
313:
226:
49:first studio recording
33:
3411:People from Southport
3185:Mstislav Rostropovich
2757:Elisabeth Schwarzkopf
2489:Michael Tilson Thomas
2135:An audio file from a
1974:Culshaw (1981), p. 94
1939:Culshaw (1976), p. xi
1930:, 28 April 1980, p. 2
1821:, 13 April 1973, p. 6
1674:"Gramophone Classics"
1642:Culshaw (1967), p. 94
1521:Culshaw (1967), p. 51
1488:Culshaw (1981) p. 121
1419:Culshaw (1967), p. 44
1410:Culshaw (1967), p. 45
1392:Culshaw (1967), p. 38
1383:Culshaw (1981), p. 87
1374:Culshaw (1981), p. 84
1365:Culshaw (1981), p. 66
1327:Culshaw (1981), p. 15
1318:Culshaw (1981), p. 49
1295:Culshaw (1981), p. 19
1286:Culshaw (1981), p. 12
1246:Culshaw (1981), p. 16
950:University of Houston
805:
591:
557:
449:
385:Stereo and the Decca
305:
215:
31:
3269:Producers/engineers/
2736:Anne Sofie von Otter
2327:Nikolaus Harnoncourt
1886:Greenfield, Edward,
1545:"The Art of Culshaw"
1543:Greenfield, Edward,
1343:, March 1945, p. 12.
1168:Reviewing the book,
1062:Notes and references
847:Un ballo in maschera
131:Culshaw was born in
3259:The Tallis Scholars
3224:Alban Berg Quartett
2962:Sergei Rachmaninoff
2680:Dmitri Hvorostovsky
2348:Herbert von Karajan
2334:Christopher Hogwood
2308:Carlo Maria Giulini
2301:John Eliot Gardiner
2294:Wilhelm FurtwÀngler
2106:Herbert von Karajan
1594:, March 1959, p. 85
1454:, March 1952, p. 11
1106:Hans Knappertsbusch
869:The Flying Dutchman
850:was broadcast from
832:Royal Festival Hall
673:Herbert von Karajan
651:Galina Vishnevskaya
593:Herbert von Karajan
521:Wolfgang Windgassen
437:Vienna Philharmonic
410:Hans Knappertsbusch
272:to record Wagner's
268:, were sent to the
251:long-playing record
170:Sergei Rachmaninoff
3245:The King's Singers
3178:Jean-Pierre Rampal
3150:Anne-Sophie Mutter
2969:Sviatoslav Richter
2866:Marc-André Hamelin
2831:Vladimir Ashkenazy
2561:Montserrat Caballé
2266:Sergiu Celibidache
1912:Grove Music Online
1869:Quantrill, Peter,
1577:, 8 May 1965, p. 5
1551:, July 1980, p. 25
1040:A Century of Music
1032:Sergei Rachmaninov
1011:The Sons of Brutus
969:Metropolitan Opera
808:
730:Sir Thomas Beecham
647:Coventry Cathedral
597:
455:
227:
207:A Century of Music
37:John Royds Culshaw
34:
3368:
3367:
3359:Kenneth Wilkinson
3340:Goddard Lieberson
3059:Jacqueline du Pré
2976:Arthur Rubinstein
2885:Vladimir Horowitz
2743:Luciano Pavarotti
2475:Leopold Stokowski
2409:Yevgeny Mravinsky
2388:Charles Mackerras
2226:Leonard Bernstein
1830:"Opera for BBC",
1266:Martland, Peter,
1025:A Place of Stone.
935:Leonard Bernstein
930:Der Rosenkavalier
923:playing works by
748:Arthur Rubinstein
580:topped the poll.
497:and Waltraute in
417:in recordings of
366:Eduard van Beinum
270:Bayreuth Festival
266:Kenneth Wilkinson
116:Leonard Bernstein
61:, begun in 1958.
3423:
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3096:
3089:
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3075:
3068:
3061:
3054:
3047:
3040:
3033:
3026:
3016:woodwind players
3006:
2999:
2992:
2985:
2978:
2971:
2964:
2957:
2955:Maurizio Pollini
2950:
2943:
2936:
2929:
2922:
2915:
2913:Gustav Leonhardt
2908:
2901:
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2887:
2880:
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2833:
2826:
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2810:Leif Ove Andsnes
2794:
2792:Fritz Wunderlich
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2773:
2766:
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2696:
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2682:
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2645:Nicolai Ghiaurov
2640:
2638:Angela Gheorghiu
2633:
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2624:Kirsten Flagstad
2619:
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2610:Kathleen Ferrier
2605:
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2589:Feodor Chaliapin
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2503:
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2450:
2439:
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2418:
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2395:Neville Marriner
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2383:
2376:
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2361:
2350:
2343:
2336:
2329:
2322:
2321:
2310:
2303:
2296:
2289:
2282:
2275:
2273:Riccardo Chailly
2268:
2261:
2259:Benjamin Britten
2254:
2253:
2242:
2235:
2228:
2221:
2220:
2209:
2207:Daniel Barenboim
2202:
2195:
2171:
2164:
2157:
2148:
2147:
2119:
2100:
2081:
2062:
2050:
2036:
2009:
2003:
1997:
1994:
1988:
1981:
1975:
1972:
1966:
1959:
1953:
1946:
1940:
1937:
1931:
1924:
1918:
1917:
1901:
1895:
1884:
1878:
1867:
1861:
1854:
1848:
1841:
1835:
1828:
1822:
1815:
1809:
1802:
1793:
1792:Morrison, p. 180
1790:
1781:
1778:
1772:
1769:
1763:
1760:
1754:
1751:
1745:
1734:
1728:
1709:Kennedy, Michael
1705:
1699:
1696:
1690:
1687:
1681:
1671:
1665:
1658:
1652:
1649:
1643:
1640:
1634:
1631:
1622:
1619:
1613:
1610:
1604:
1601:
1595:
1586:Porter, Andrew,
1584:
1578:
1567:
1561:
1558:
1552:
1541:
1522:
1519:
1510:
1507:
1501:
1498:
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1213:
1206:
1188:
1181:The reviewer in
1179:
1173:
1166:
1160:
1153:
1147:
1143:
1137:
1134:
1128:
1125:
1119:
1095:
1089:
1076:
842:Reginald Goodall
760:Sir Adrian Boult
744:Wilhelm Backhaus
507:operas included
330:Kirsten Flagstad
239:Kathleen Ferrier
79:Benjamin Britten
3431:
3430:
3426:
3425:
3424:
3422:
3421:
3420:
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3238:Beaux Arts Trio
3236:
3231:Amadeus Quartet
3229:
3222:
3211:
3204:
3197:
3190:
3183:
3176:
3169:
3162:
3155:
3148:
3143:Nathan Milstein
3141:
3134:
3127:
3122:Wynton Marsalis
3120:
3113:
3106:
3099:
3094:Steven Isserlis
3092:
3085:
3078:
3073:Arthur Grumiaux
3071:
3064:
3057:
3052:Kyung Wha Chung
3050:
3043:
3036:
3029:
3022:
3015:
3009:
3002:
2997:Grigory Sokolov
2995:
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2939:
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2883:
2876:
2864:
2859:Friedrich Gulda
2857:
2850:
2843:
2836:
2829:
2822:
2817:Martha Argerich
2815:
2808:
2797:
2790:
2783:
2776:
2769:
2764:Joan Sutherland
2762:
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2636:
2629:
2622:
2615:
2608:
2603:PlĂĄcido Domingo
2601:
2594:
2587:
2580:
2573:
2566:
2559:
2552:
2547:Cecilia Bartoli
2545:
2538:
2531:
2524:
2513:
2506:
2494:
2487:
2480:
2473:
2461:
2454:
2442:
2435:
2430:Antonio Pappano
2428:
2421:
2414:
2407:
2400:
2393:
2386:
2379:
2372:
2365:
2353:
2346:
2339:
2332:
2325:
2315:Bernard Haitink
2313:
2306:
2299:
2292:
2287:Gustavo Dudamel
2285:
2278:
2271:
2264:
2257:
2245:
2238:
2231:
2224:
2212:
2205:
2200:John Barbirolli
2198:
2191:
2180:
2175:
2126:
2116:
2097:
2078:
2059:
2033:
2023:Ring Resounding
2017:
2012:
2004:
2000:
1995:
1991:
1982:
1978:
1973:
1969:
1960:
1956:
1947:
1943:
1938:
1934:
1925:
1921:
1915:
1908:"Culshaw, John"
1902:
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1736:Culshaw, John,
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1571:GötterdÀmmerung
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1336:Culshaw, John,
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1146:on the nerves."
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1122:
1096:
1092:
1081:GötterdÀmmerung
1077:
1073:
1064:
1007:
979:cycle in 1975.
933:, conducted by
921:Amadeus Quartet
800:
784:Lisa Della Casa
586:
570:Ring Resounding
533:Joan Sutherland
500:GötterdÀmmerung
441:Willi Boskovsky
427:Richard Strauss
390:
372:of Amsterdam."
322:Capitol Records
318:
285:in addition to
243:Clifford Curzon
188:
129:
124:
87:Richard Strauss
66:Capitol Records
24:
17:
12:
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3317:
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3296:
3289:
3286:Bernard Coutaz
3282:
3279:Emile Berliner
3274:
3272:
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3263:
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3255:
3252:TakĂĄcs Quartet
3248:
3241:
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3202:
3199:Andrés Segovia
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3167:
3164:Emmanuel Pahud
3160:
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3153:
3146:
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3136:Yehudi Menuhin
3132:
3129:Albrecht Mayer
3125:
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3101:Fritz Kreisler
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3004:Mitsuko Uchida
3000:
2993:
2990:Artur Schnabel
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2965:
2958:
2951:
2948:Murray Perahia
2944:
2937:
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2902:
2899:Wilhelm Kempff
2895:
2888:
2881:
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2774:
2771:Renata Tebaldi
2767:
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2750:Leontyne Price
2746:
2739:
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2722:Birgit Nilsson
2718:
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2697:
2694:Jonas Kaufmann
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2659:Thomas Hampson
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2596:Joyce DiDonato
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2124:External links
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1592:The Gramophone
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1021:A Harder Thing
1006:
1003:
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812:BBC Television
799:
796:
792:Renata Tebaldi
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620:Albert Herring
585:
582:
553:The Gramophone
529:RĂ©gine Crespin
509:Birgit Nilsson
482:The Gramophone
451:Birgit Nilsson
415:Pierre Monteux
395:The Gramophone
389:
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334:Otto Klemperer
317:
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175:The Gramophone
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94:BBC Television
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3206:John Williams
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3024:Maurice André
3021:
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3018:
3014:String/brass/
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3005:
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2987:
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2983:AndrĂĄs Schiff
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2907:
2906:Evgeny Kissin
2903:
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2892:Stephen Hough
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2878:Angela Hewitt
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2824:Claudio Arrau
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2729:Jessye Norman
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2715:Anna Netrebko
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2666:Marilyn Horne
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2631:Renée Fleming
2628:
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2607:
2604:
2600:
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2590:
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2582:Enrico Caruso
2579:
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2575:José Carreras
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2416:Riccardo Muti
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2240:Pierre Boulez
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2115:1-85619-763-8
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2098:
2096:0-571-21584-X
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2077:0-436-11802-5
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2058:0-670-59301-X
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2032:0-436-11800-9
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2019:
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1170:Lord Harewood
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1157:Covent Garden
1155:Bayreuth and
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966:broadcasts of
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936:
932:
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905:
904:
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898:
894:and Mozart's
893:
892:
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885:
884:Owen Wingrave
879:
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859:
858:
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852:Covent Garden
849:
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840:conducted by
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544:Das Rheingold
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517:Gottlob Frick
514:
510:
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487:Elvis Presley
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472:Das Rheingold
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161:Fleet Air Arm
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98:Fred Gaisberg
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62:
60:
59:
54:
50:
46:
45:Decca Records
42:
38:
30:
26:
22:
3347:Richard Mohr
3333:Edward Lewis
3326:Walter Legge
3293:John Culshaw
3292:
3192:Jordi Savall
3108:Gidon Kremer
3066:James Galway
3045:Pablo Casals
3038:Julian Bream
3031:Dennis Brain
2927:Dinu Lipatti
2802:Keyboardists
2568:Maria Callas
2526:Thomas Allen
2508:Bruno Walter
2482:George Szell
2456:Fritz Reiner
2444:Simon Rattle
2381:James Levine
2247:Adrian Boult
2140:
2131:
2105:
2086:
2067:
2047:
2043:
2022:
2015:Bibliography
2001:
1992:
1985:The Observer
1984:
1979:
1970:
1962:
1957:
1950:The Observer
1949:
1944:
1935:
1928:The Guardian
1927:
1922:
1911:
1899:
1891:
1882:
1874:
1865:
1858:The Guardian
1857:
1852:
1845:The Guardian
1844:
1839:
1832:The Guardian
1831:
1826:
1819:The Guardian
1818:
1813:
1806:The Guardian
1805:
1776:
1767:
1758:
1749:
1741:
1732:
1724:
1716:
1703:
1694:
1685:
1677:
1669:
1661:
1656:
1647:
1638:
1617:
1608:
1599:
1591:
1582:
1574:
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1565:
1556:
1548:
1505:
1484:
1475:
1467:
1451:
1446:
1439:
1434:
1424:
1415:
1406:
1397:
1388:
1379:
1370:
1361:
1353:
1348:
1340:
1332:
1323:
1300:
1291:
1271:
1242:
1232:
1209:
1182:
1177:
1164:
1151:
1141:
1132:
1123:
1109:
1101:
1093:
1085:
1079:
1074:
1055:
1054:, 1978; and
1051:
1047:
1043:
1039:
1036:The Concerto
1035:
1031:
1029:
1024:
1020:
1016:The Observer
1014:
1010:
1008:
1005:Publications
994:
992:
987:
981:
976:
972:
939:
928:
901:
895:
891:Peter Grimes
889:
882:
880:
873:
867:
861:
855:
845:
835:
827:
815:
809:
772:George Szell
768:Fritz Reiner
737:
723:
716:
710:
700:
694:
688:
682:
676:
670:
665:
659:
639:
637:
630:
629:(1967), and
624:
618:
610:Peter Grimes
608:
604:
598:
577:
573:
569:
565:
563:
558:
552:
543:
541:
537:
504:
498:
494:
481:
476:
470:
464:
458:
456:
430:
402:
400:
394:
391:
386:
374:
359:
349:
338:Walter Legge
326:Edward Lewis
319:
308:
306:
298:
294:
290:
286:
280:
273:
263:
255:Savoy Operas
235:Eileen Joyce
228:
221:
206:
203:The Concerto
202:
196:
189:
173:
166:
153:Midland Bank
136:
130:
105:
102:Walter Legge
91:
89:and others.
74:stereophonic
69:
63:
56:
36:
35:
32:John Culshaw
25:
3386:1980 deaths
3381:1924 births
2852:Glenn Gould
2845:Emil Gilels
2785:Bryn Terfel
2708:Emma Kirkby
2673:Hans Hotter
2540:Janet Baker
2463:Georg Solti
2402:Zubin Mehta
2280:Colin Davis
2141:Die WalkĂŒre
2132:Die WalkĂŒre
1904:Blyth, Alan
1429:Blyth, Alan
903:Winterreise
875:La traviata
828:Music Night
818:, in which
798:Later years
712:The Planets
655:Peter Pears
641:War Requiem
513:Hans Hotter
495:Die WalkĂŒre
404:Die WalkĂŒre
346:stereophony
247:Georg Solti
231:Ida Haendel
217:Georg Solti
127:Early years
21:Jon Culshaw
3375:Categories
2652:Tito Gobbi
2185:Conductors
1892:Gramophone
1875:Gramophone
1742:Gramophone
1725:Gramophone
1717:Gramophone
1678:Gramophone
1549:Gramophone
1194:References
1086:Gramophone
632:Billy Budd
615:Erik Smith
574:Gramophone
549:steerhorns
419:Stravinsky
209:in 1952).
112:Henry Wood
3353:Ted Perry
3216:Ensembles
2934:Radu Lupu
2920:Lang Lang
2233:Karl Böhm
1575:The Times
1234:The Times
1100:wrote in
995:The Times
984:hepatitis
912:Aldeburgh
837:Siegfried
756:Karl Böhm
666:faux-naif
605:The Times
491:Pat Boone
460:The Times
356:Frankfurt
309:Lohengrin
300:Lohengrin
257:with the
198:The Times
157:Liverpool
133:Southport
122:Biography
107:The Times
3115:Yo-Yo Ma
1433:"Wagner
1058:, 1981.
1046:, 1967;
1042:, 1951;
1038:, 1949;
1034:, 1948;
956:and the
925:Schubert
897:Idomeneo
623:(1964),
432:Arabella
368:and the
295:Parsifal
287:Parsifal
275:Parsifal
2518:Singers
739:Messiah
601:Britten
351:Requiem
316:Capitol
2112:
2093:
2074:
2055:
2029:
1050:1976;
952:, the
820:Previn
790:, and
770:, and
734:Handel
702:Otello
684:Carmen
662:Mahler
289:. The
172:, for
145:Crosby
53:Wagner
1569:"The
1067:Notes
908:Snape
707:Holst
678:Tosca
423:Ravel
283:cycle
224:cycle
192:Decca
186:Decca
83:Verdi
2110:ISBN
2091:ISBN
2072:ISBN
2053:ISBN
2046:Ring
2027:ISBN
1740:, ,
977:Ring
872:and
750:and
699:and
690:Aida
578:Ring
566:Ring
527:and
505:Ring
489:and
477:Ring
466:Ring
439:and
421:and
387:Ring
291:Ring
281:Ring
241:and
222:Ring
100:and
70:Ring
999:OBE
736:'s
726:RCA
709:'s
429:'s
342:EMI
340:of
180:BBC
137:née
114:to
55:'s
51:of
41:OBE
3377::
1910:,
1906:,
1890:,
1873:,
1797:^
1785:^
1723:,
1715:,
1711:,
1676:,
1626:^
1590:,
1547:,
1526:^
1514:^
1493:^
1459:^
1437:,"
1431:,
1309:^
1279:^
1270:,
1251:^
1217:^
1201:^
1114:,
937:.
878:.
866:,
860:,
794:.
786:,
782:,
778:,
766:,
762:,
758:,
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721:.
693:,
687:,
681:,
657:.
535:.
523:,
519:,
515:,
511:,
443:.
261:.
237:,
233:,
143:,
85:,
39:,
2170:e
2163:t
2156:v
2118:.
2099:.
2080:.
2061:.
2035:.
886:,
23:.
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