Victor de Sabata: diferenças entre revisões
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'''Victor de Sabata''' ([[10 de abril]], [[1892]] - [[11 de dezembro]], [[1967]]) foi um [[maestro]], e [[compositor]] [[Itália|italiano]].
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During a rehearsal of [[Ottorino Respighi|Respighi]]'s ''[[Pines of Rome]]'' in London, de Sabata "demonstrated the bowing and fingering of the high cello part in the first movement by playing it -- without even a glance at the part. The pianist asked for advice about the solo cadenza, which de Sabata also played by heart. In the rehearsal interval, he asked the ''[[Saxhorn|flicorni]]'' for the final movement to play their brass fanfares. They did. 'What are you playing?' he asked. 'It is an octave higher.' 'Can't be done, Maestro.' ... The Maestro borrowed one of their instruments and blew the correct notes in the right octave." <ref>{{cite album-notes |first=Felix |last=Aprahamian |notestitle=Victor de Sabata |title=Victor de Sabata conducts Debussy and Respighi |publisher=Testament |publisherid=SBT 1108 |year=1999 |format=CD liner}}</ref> ''(this anecdote is all the more impressive when one knows that the ''flicorno'' (saxhorn) is an instrument usually associated with brass bands and very rarely used in a symphony orchestra).''
"A visitor [to La Scala] rehearsing ''[[Tristan und Isolde|Tristan]]'' asked Victor de Sabata to take the baton while he tested the sound from the centre of the auditorium. Needless to say, the sound he heard was totally different from the one he produced. De Sabata, without uttering a word, asserted his dominance of the orchestra just by standing there". <ref>Lebrecht, [http://books.google.com/books?id=eHfvpkp7lSQC&pg=PA8&vq=sabata&dq=lebrecht+%22de+sabata%22&sig=H7IOy4zFiaWOCtcdHCy2f9GHALU p. 8]</ref>
When [[Herbert von Karajan]] was making his own recording of ''Tosca'' in 1962, he would often ask his producer [[John Culshaw]] to play selections from the De Sabata/Callas recording to him. Culshaw reports that "One exceptionally tricky passage for the conductor is the entry of Tosca in Act 3, where Puccini's tempo directions can best be described as elastic. Karajan listened to De Sabata several times over during that passage and then said, 'No, he's right but I can't do that. That's ''his'' secret.'" <ref>Osborne, [http://books.google.com/books?id=5jKcs-IcZNIC&pg=RA1-PA493&vq=%22that%27s+his+secret%22&dq=Herbert+Von+Karajan:+A+Life+in+Music&as_brr=3&sig=EK8fDgrqWd-czzaUgvwIb47GQ_M p. 493]</ref
==Discografia selecionada==
:''Veja também [[:en:Victor de Sabata discography]]''
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*Wagner, miscellaneous operatic excerpts, live performance with [[Eileen Farrell]] and the [[New York Philharmonic]], New York, 1951 (currently available on Urania)
==Media==
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==Compositions==
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<!-- =={{Ligações externas}}==
*[http://www.allmusic.com/cg/amg.dll?p=amg&sql=41:20110~T0 AMG AllMusic entry]
*[http://www.arkivmusic.com/classical/Namedrill?&name_id=2865&name_role=3 Available recordings of de Sabata conducting, from arkivmusic.com]
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*[http://robertmeyer.wordpress.com/2006/11/01/victor-de-sabata-his-conducting-style/ "Victor de Sabata, his conducting style" by Robert Meyer]
*[http://robertmeyer.wordpress.com/2006/11/06/victor-de-sabata-and-the-ladies/ "Victor de Sabata and the ladies" by Robert Meyer]
*[http://robertmeyer.wordpress.com/2006/11/06/victor-de-sabata-and-the-critics/ "Victor de Sabata and the critics" by Robert Meyer] -->
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