Roger Hecht wrote:

>One of the reasons may be that, in my experience with him anyway, he is
>better live than on recordings.  I should add, the recordings I've heard,
>which is hardly all of them.  But of the six or seven I've heard, none is
>as good as the live concerts I've heard with him.  He seems more stiff on
>record.

As a "local" perhaps I can add to this discussion.  Some of Litton's
recordings are indeed fine.  I would suggest that you try the Tchailovsky
album with the 1812 on Delos and the Holst/Strauss cd as well.  (Everyone
including Mr. Litton hated the cover art on that one!)

>By the way, again judging from recordings, he is really doing something in
>Dallas.  The orchestra has sounded very good on the CDs I've heard, and it
>and Litton seem to be appreciated there.  Obviously, the locals could speak
>to that better than I.

Yes and no. He cleaned house in the ranks when he got here and got rid
of some dead wood, which did indeed benefit the orchestra.  He is greatly
appreciated by the LOL's (little old ladies) in Dallas because, unlike his
predecessor, the late Eduardo Mata (Requiescant in pacem), he is very
charming and personable, and is very articulate.

On the other hand, his podium mannerisms and excessive "I wanna be just
like Lenny Bernstein" emotional displays drive many of us mad.  It is said
that he gets more hang time in a Mahler symphony than Michael Jordan gets
in a playoff game.  His programming leaves a lot to be desired with more
Gershwin than should be programmed in ten seasons, and little if anything
too far off the beaten track.We heard the Barber violin concerto (which I
love) three times in two seasons.

>Still, it's funny.  You can give great concerts but it don't mean a thing
>if you don't have that zing--on records.

Sad but true.

>Just a theory.  Maybe I'm missing the great CDs he's made.  I'm open to
>suggestions.

See above.

Kevin Sutton