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Victor Olof

Trained being a conductor, violinist, and pianist, Victor Olof is certainly remembered chiefly being a documenting producer, albeit one with less celebrity than his counterparts, EMI’s Walter Legge and Decca’s John Culshaw. Ironically, Olof preceded Culshaw at Decca (previously referred to as London in the American marketplace) and coexisted using the imperious Legge at EMI. Although Olof was a lot more of a greyish, behind-the-scenes existence than Legge or Culshaw, the set of renowned recordings he created assures him a location using the industry’s most significant figures and a great number of of his recordings possess remained obtainable and unsurpassed. Pursuing studies theoretically, piano, and violin on the Guildhall College of Music in London, Olof shaped the Victor Olof Sextet in 1925 and continuing to perform with this ensemble until 1939. During WWII, he executed orchestral shows for English makes and, in 1943, became a member of Decca Records being a music consultant. He continued to be with Decca until 1956, working as an archive producer and putting your signature on new postwar skill for the label. Under his aegis, Decca begun to build a significant opera catalog; he presided over the first group of Tebaldi discs and Viennese recordings by Erich Kleiber (Der Rosenkavalier and Le nozze di Figaro), Clemens Kraus (Fledermaus), and Josef Krips (Don Giovanni), that have continued to market well. He also created the matchless Walter/Ferrier/Patzak Das Lied von der Erde. In his publication Placing the Record Right, Culshaw explained Olof as “a musician of wide encounter both as a new player and an administrator,” but mentioned that Olof loved to create his personal discoveries: when Culshaw urged Olof to indication Karl Münchinger as well as the Stuttgart Chamber Orchestra, his guidance was ignored, however when Olof noticed the ensemble personally a year later on, he enthusiastically involved them for Decca. Raising tensions between his goals as maker and the issues of others in offering large levels of recordings ultimately led Olof to keep Decca for EMI. There, he created such popular recordings as Beecham’s Carmen, Kempe’s Lohengrin, and different discs offering Barbirolli, Menuhin, Constantin Silvestri, Beecham, and additional important EMI performers. Curiously, when Legge remaining EMI before completing focus on a documenting of Les contes d’Hoffmann offering his wife Elisabeth Schwarzkopf as Giulietta, Olof completed the job.

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