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customarily used today. (I wish I had seen it.) His panache and the striking tonal color he got with that instrument were a joy. It is unfortunate that no recording was ever released, although I surmise there exists a private or underground recording somewhere.

Not much later, I was at Tanglewood one summer weekend to hear Wagner’s Lohengrin with the BSO under Leinsdorf, a splendid conductor of opera. (The cast included Sandor Konya, Lucine Amara and Jerome Hines.) I was in the front row and when the trumpets entered the sound waves practically knocked me back in my seat. From then on, the performance seemed to be for tenor and trumpets. The sonic force of that performance was extraordinary. I bought the RCA recording as soon as it came out. (A few years ago I heard the Leinsdorf recording of Turandot with the Orchestra of the Academy of Santa Cecilia. It was the same thing: a very brassy and impassioned Turandot.)

Early in the 1970s, I returned to Tanglewood to hear the BSO in a program of mostly French music, probably with Munch. I caught the rehearsal, sitting in the front row, as the orchestra went through the whole of Berlioz’s Symphonie Fantastique for what could have been the hundredth time. Voisin was leading the band, of course, and what a wild, explosive show it was.

There are few opportunities to compare recordings of Vacchiano and Voisin on the same material. Voisin got to record a lot of Debussy, Ravel and Strauss, which Vacchiano did not. Vacchiano did a lot of Schuman, Mahler and American composers, which Voisin did not. The BSO recording of Symphonie fantastique under Munch is justly famous. But I heard on the radio in Rome a recording of the same piece by the NYPO conducted by Mitropolous. In the latter, Vacchiano, phrasing impeccably, provides strong leadership for the brass section and, with his huge sound, soars over the orchestra. In the former, Voisin is the standout but there is also a great sense of spontaneity, of every-artist-for-himself. (When Munch died, Voisin told an interviewer

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