Tuning in…
Tuning in…
Castaway
1 appearance
A musician and Italy's most celebrated conductor.
On the island
Eight records
String Quartet No. 15 in A minor, Op. 132Favourite
Every year Busch with his quartet used to come to Rome and this was an unbelievable experience to have for many times all the Beethoven quartets played by him and also of course the Beethoven sonata with the duo with the Selkin and Concerto. And what I should really like to have Beethoven quartet played by Busch quartet. Opus 132, played by the Bush Quartet.
Impromptu No. 2 in A-flat major, D. 899
I think Schnabel is important man, not only for the pianist but for all the musicians. His approach to the music, his phrasing, his sound, his kind to speak through the music is very important. And I should very much like have with me some Schubert. For instance, impromptu number two in A Flat Measure.
Symphony No. 36 in C major, K. 425 'Linz'
I couldn't stay without Mozart. And Mozart is very close with in my remembrance. With Bruno Wald performance which I used to play with in the in Rome with him. And it's pity there is no uh opera recorded by Bruno Walter, because I think uh mo for Mozart it should be ne really necessary to have a opera, because in o uh uh his personality in the opera is complete. But because it's not uh possible to have an opera, then I chose um a symphony and perhaps the lines.
Symphony No. 3 in E-flat major, Op. 55 'Eroica'
The next record reminds me of another great experience that I had in my youth when I used to play in the orchestra, and it was the first contact with Otto Clampere. And uh I never will remember uh performance of uh Beethoven Eroke and which I of course I listened to many times again, uh conducted by him and also with a great but this first time was something very important for me and I should have this record.
Symphony No. 4 in E minor, Op. 98
Wilhelm Furtwängler (conductor)
The next record is uh Brams. Brams which is um composer which I very very deeply uh love and feel and uh is another great conductor which I uh I met and uh which I very very deeply admired and he's the full temper. Uh his great personality uh is unforgettable and I should have the four brands and if you want to play just a little bit of the beginning of the first movie.
The next uh is another great conductor with a quite different personality. He's a Italian conductor DeSato. You worked with him at Scala, didn't you? Yes. I first I used to pl I used to play a lot of concert with him in Rome. Then uh he called me a scholar to be with him and we are were very close. There is a recording of the Debusinoctoons, and perhaps you could listen to a little bit of the beginning of Faith.
I know that uh Toscanini uh used to rec uh to perform in a concert for The Last Act of Regoleto and this record and and you can you could find this record and if you don't mind to play something of the this uh last act of Rigoletto.
I should like to have The Voice by Titaruflo. A main voice, Barryton. A great, great artist, great interpreter. And uh of course the record is very old and was reprinted perhaps, but still it's possible to listen which kind of sound and which kind of interpretation came out from this main. And uh please uh play something of the Credo uh Valdi Roteldo.
In conversation
Presenter asks
2:49Where were you born?
I'm bor I'm born in uh south Italy. But uh for a case, because my my family is from uh North Italy and my father went in South Italy just for business, just in time that I was born and then we went back to North Italy.
Presenter asks
4:00When did you make your debut as conductor?
This conductor May was the first concert in Rome after the liberation of Rome, after the war. I was the first conductor who conducted and this was my first concert. A very beautiful moment, yeah.
Presenter asks
5:20When did you first come to Britain?
Uh the first time that I came away with it was in fifty-two and I went to Glaimbo for prepare the Falstaff that we performed then in Edinburgh Festival. This was my first contact musical contact with England.
Presenter asks
6:33Now, although you've conducted so much Verdi, you don't conduct Puccini. Why is this?
The keepsakes
The book
The Praise of Created Things (Canticle of the Sun)
Saint Francis of Assisi
This is from man to God for everything. For everything, for the good thing, for the beautiful thing and also for the bed.
The luxury
Not recorded.
Uh it's difficult to say. Um it's not uh uh it's absolutely mm personal feeling. I like Puccini of course, but uh I'm not able to control. I tried but uh I don't feel I can. Mm. It's difficult to answer why. Um it's something Uh I don't I don't I it's difficult to to to to express and to say why, but uh I know that this something happened that I it's impossible to let to do it.
Presenter asks
7:59Now you've conducted so often at Covent Garden, it came as rather a shock to us when you announced last year that you were going to give up opera. Is this a permanent decision?
There is no permanent edition, uh this isn't for nothing. No, I will stop for few years. And uh I hope then in uh next four or five years, I don't know, to do once, uh every year, one opera, if I can find um uh good solution for this. But I don't want to go back to opera uh normally.
“I must confess that I shouldn't like at all to have records because uh the idea that uh something in the performance uh has to be fixed forever is uh a terrible idea and uh I should be very desperate to to to think that I should listen always the same performance also also if the performance is great of course.”
“The warmth and the enthusiasm of these people and it was marvelous to see a English orchestra play the overtures uh West Brisilian West Bridget or with and the the the audience of Parma get absolute mad and crazy.”
“I like Puccini of course, but uh I'm not able to control. I tried but uh I don't feel I can.”
“I am terribly unpractical with myself and I am I am in great troubles just to to to put a light on a thing.”