Download John Culshaw and the recording as a work of art

John Culshaw and the recording as
a work of art
David Patmore, University of Sheffield
Presentation outline
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Culshaw: life
Culshaw: ideas
Examples of these in action
Suggested explanations for decline
Sources: Culshaw’s articles for record press,
interviews
The central issue
‘John had the concept of
the recording being an
art form in itself – and
that’s what he believed
in.’ – Gordon Parry in
interview, 8th April,
1999.
Life (1)
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Born: 1925, Southport, UK
Bank clerk before joining Fleet Air Arm
After war, writes freelance music articles
1946 Joins Decca’s publicity department
1947 Begins work as a producer with Decca
1951 Becomes permanent with Decca
1953-55 Heads Capitol’s European classical
operation
Life (2)
 1955 Returns to Decca as producer
 1956 Replaces Victor Olof as head of classical
production at Decca
 1957-58 Introduction of stereo LPs
 1957-67 Produces major recordings for Decca and
RCA
 1967 Leaves Decca to become head of music at BBC
TV
 1975 Leaves BBC TV, and pursues freelance career
 1980 Dies of hepatitis
Ideas and influences (1) - general
 Foundation: working internationally for large
corporation, dedicated to recording
 Access to capital plus freedom of action
 Primary function of producer: to draw out
best from performer
 Saw value of recordings as long-term
documents, in the service of the composer
 Team player not an autocrat
 But not shy in pushing forward his ideas
Ideas and influences (2) - the keys
 ‘John had not only the musical side…but he also
had this deep sense of what the market wanted,
where it should be going. Stereo: as soon as John
heard of stereo, he was there. He saw the potential.’
– Jack Boyce (Decca marketing) in interview, 8th
April, 1999.
 ‘A fine production in any medium is the sum of its
small details, which have to be mastered and
absorbed before it an transcend then and approach
the realms of art.’ – John Culshaw, Records and
Recording, February 1962.
Ideas and influences (3)
 Key influence: Gordon Parry
 Parry saw Das Rheingold as an ideal work for stereo
production
 Convinced Culshaw of this
 Timing excellent: strong interest in stereo in USA
 Rheingold recording a major commercial success
 Opened the way to further similar productions
James Mallinson’s view
 Re: the recorded performance as a legitimate
art work in its own right:
 ‘…that is what it is. It is what it should be.
You should never look at a record as being a
sort of poor relation of a live performance’. –
in interview, 2nd June, 1999.
The key recordings
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1959 Das Rheingold
1961 Tristan und Isolde
1962 Salome
1963 Siegfried, War
Requiem
 1965
Gotterdammerung
 1967 Elektra
Key characteristics of successful (opera)
recordings
 Constructed : too many errors in live recordings
 The recording is artificial and unique: key features:
 Satisfactory balance: relationship with conductor
key (Solti) (Rheingold)
 Uniqueness: getting inside the score gives specific
vision (Tristan designs)
 Movement: acting and so intensity of expression
(Tristan)
 Atmosphere: drama (Salome)
 Authenticity: fidelity to composer’s intentions (War
Requiem)
Recordings and Film
 Parallels with film:
- created in the studio
- cost
- cutting
- continuity
- the record producer =
the film director
 Example:
Gotterdammerung film
The recording as art work
 Culshaw strove to create recordings that
were parallel to successful theatrical and
film productions
 Individual concept, mastery of
technology, attention to detail,
outstanding performances =
 A work of art
Decline and Fall
 Immediate: no-one followed Culshaw’s ideas
 SonicStage ‘childish’ (1980)
 Possibly seen as classical parallel to Phase 4 (critical
opinion dismissive – but vast sales)
 Long-term: miniaturisation and improved recording
eliminated need for studio
 Made live recording technically as good as studio,
as well as cheaper
 Overall discourse: the objective of recordings: to
emulate the concert hall: in conflict with these ideas
 The recording now seen as no more than a process
The verdict of history?
 ‘It is …open to question whether any studio
recording of The Ring could reasonably be
expected to be more atmospheric, exciting or better
performed than this one.’ – Arnold Whitall,
Gramophone, March 1989.