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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. Culshaw: life Culshaw: ideas Examples of these in action Suggested explanations for decline Sources: Culshaw’s articles for record press, interviews. The central issue.

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John Culshaw and the recording as a work of art

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  1. John Culshaw and the recording as a work of art David Patmore, University of Sheffield

  2. Presentation outline • Culshaw: life • Culshaw: ideas • Examples of these in action • Suggested explanations for decline • Sources: Culshaw’s articles for record press, interviews

  3. 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.

  4. Life (1) • 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

  5. 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

  6. 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

  7. 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.

  8. 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

  9. 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.

  10. The key recordings • 1959 Das Rheingold • 1961 Tristan und Isolde • 1962 Salome • 1963 Siegfried, War Requiem • 1965 Gotterdammerung • 1967 Elektra

  11. 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)

  12. Recordings and Film • Parallels with film: - created in the studio - cost - cutting - continuity - the record producer = the film director • Example: Gotterdammerung film

  13. 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

  14. 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

  15. 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.

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