Talk:Sergei Koussevitzky
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a "well-regarded number of musical works"? was someone trying to say that the recordings are well-regarded? this sounds like the works themselves are good, but the performances indifferent. or that the *number* is well-regarded, which is even worse.
- It was a sloppy sentence; I fixed it. Anyone can edit here, so if you spot another you can fix it yourself. Cheers, Antandrus (talk) 02:57, 25 August 2005 (UTC)
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[edit] Photo date
Can somebody get a more accurate date on the picture? — ßottesiηi Tell me what's up 21:56, 7 May 2006 (UTC)
[edit] Second wife
The article makes no mention of his second(?) wife, Olga. Does anyone have any info on when he was married, etc.? --ßottesiηi (talk) 13:38, 12 December 2006 (UTC)
[edit] Notable Instruments
The Karr-Koussevitzky is neither thought to be made by the Amati brothers nor believed to be constructed in 1611 these days ([1]). Referring to the bass as the Amati in the link would be perfectly acceptable as a common name, but the current link with date implies a definite attribution. -- ßottesiηi (talk) 19:29, 20 April 2007 (UTC)
[edit] Fair use rationale for Image:Peterandwolf.jpg
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BetacommandBot (talk) 20:02, 26 November 2007 (UTC)
[edit] Edits by Altufo65
Editor User talk:Altufo65 made a series of edits that were well-intentioned but of mixed quality. Rather revert his edits, I've put some of his stuff here for now. Nunquam Dormio 08:34, 4 December 2007 (UTC)
Looking back on all of this as 2008 looms before us with its endless electioneering, perhaps the time has come for Sony/RCA and/or Testament to at least reissue the brilliant series of high fidelity magnetic tape recordings led by Koussevitzky and the Boston Symphony in 1949 and 1950. Beginning in April, 1949, we have -- only potentially, of course -- major works by Tchaikovsky (fourth symphony, Waltz from "Serenade for Strings", followed that summer by the complete "Serenade", plus pieces by Cowell and Satie as well as the wrap-up of the six "Brandenburgs," Mozart overtures, Haydn's "Oxford" Symphony (No. 92), the afore mentioned Prokofiev, Sibelius and Grieg, and other works. Of course, nothing will happen at all unless all music lovers with any appreciation of one of the world's greatest conductors at the helm of that aristocrat of orchestras, the Boston Symphony, gets off their duffs and start ASKING for, nay, DEMANDING the rerelease on CD of these historic milestones. On the other hand, perhaps, we can just keep hoping and waiting, and waiting and hoping, until finally the magnetic oxide falls off the acetate backings, and their reissue is just another "might have been'. It's up to you, my dear, as Serge would have said. It's up to you.
