To Seiji Ozawa. Thank you for your hard work over the years. He continued to follow the advice of Karajan and Bernstein and was able to attract a large audience. Please rest in peace.
Unlike today's timpanists who perform sitting, Vic stood (as did his teacher Saul Goodman, Roland Kohloff, and nearly all from that generation). They all achieved their huge but not "bangy" sounds because they used their entire body from toes to shoulders and, of course, had great ears and excellent musical taste. Vic may have been the greatest of them all. And as we came to know he was a great businessman too!
Записи творчества музыканта, дирижёра Сейдзи Одзавы ценны как Память. Его величайшего дарования, культуры, обаяния удивительного Человека. Он чувствовал, слышал, видел исполняемые музыкальные произведения "изнутри", работая с музыкантами оркестра, передавая замыслы авторов произведений через ясную трактовку Музыки.
@@マエストロ-b9i This is the assertion that contemporary audiences are incapable of appreciating the works of maestros such as Karl Böhm, Leonard Bernstein, Wilhelm Furtwängler, Claudio Abbado, Herbert von Karajan, and Evgeny Mravinsky. Obviously, it is indeed a constricted perspective. It presupposes that musical interpretation and appreciation are static, bound to a singular historical context. On the contrary, the essence of classical music lies in its transcendence of time and cultural boundaries. Each conductor brings a unique interpretative vision to the compositions, and this diversity in interpretation ensures that classical music remains a living, evolving art form. Thus, it is not only possible but likely that today's and future audiences will continue to engage with and understand the profound musical legacies of these esteemed conductors.
