8 thoughts

1. Radio Interview 5: Excerpt Of New York Philharmonic Intermission Radio Interview: Companies, etc. Manufactured By – Sony Music Entertainment (Japan) Inc. Credits Conductor.

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2. Excerpt Of New York Philharmonic Intermission Radio Interview: Credits live performance, Carnegie Hall, New York City, April 6, 5 radio interview of Glenn Gould, broadcast February 2, Barcode and Other Identifiers Barcode: 5 ; Other.

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3. Intermission Topic: Dr. Howard Hanson, Director of the Eastman School of Music, and Conductor of the Eastman Philharmonia; interview by Jim Fassett. Intermission Participants: James H. Fassett, Howard Hanson Notes: Digitization made possible by a Recordings at Risk grant from the Council on Library and Information Resources (CLIR).

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4. Conductor – Leonard Bernstein Orchestra – New York Philharmonic* Piano – Glenn Gould: Radio Interview 5: Excerpt Of New York Philharmonic Intermission Radio Interview Interviewee – Glenn Gould Interviewer – James Fassett*

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5. Including a 26 pp booklet with excerpts from the original liner notes of Glenn Gould, Leonard Bernstein, New York Philharmonic* - Brahms* - Piano Concerto No. 1 live performance, Carnegie Hall, New York City, April 6, 5 radio interview of Glenn Gould, broadcast February 2, /5(2).

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6. Excerpt of New York Philharmonic Intermission Radio Interview with Glenn Gould [] Glenn Gould (piano) New York Philharmonic/Leonard Bernstein. rec. live, Carnegie Hall, 6 April SONY CLASSICAL [] This infamous Gould-Bernstein first appeared in a legitimate form, so far as I recall, in the late ’nineties on Sony Classical SK though doubtless many will have .

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7. Nov 06,  · The New York Philharmonic was the first orchestra heard over the airwaves. Its radio debut was on Aug. 11, , over WJZ. In , CBS put the orchestra's concerts on its national radio .

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8. On this episode of The New York Philharmonic This Week you’ll hear interpretations of the classics by two very different past New York Philharmonic Music Directors. First up: Pierre Boulez, whose performances were marked by accuracy and clarity, as well as for the freshness of his interpretations of traditional repertoire, especially works composed by his fellow Frenchmen, such as Dukas’s.

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