Symphony Hall by Rawhead Rex via Flickr Creative Commons
The Boston Symphony Orchestra and Boston public broadcaster WGBH have partnered with International Classical Artists and their new audio and audiovisual label, ICA Classics, to release 32 BSO historic DVDs over the next four seasons.
The first set of these new BSO archival DVD releases will feature Boston Symphony Orchestra performances that took place at Harvard University’s Sanders Theatre between February 4, 1958 and October 31, 1961, under the direction of Charles Munch (BSO Music Director 1949-1962).
These DVDs — featuring music of Debussy, Ravel, Wagner, Fauré, Franck, and Beethoven — represent some of the earliest televised concerts with the Boston Symphony Orchestra … Originally broadcast on WGBH television and distributed … to educational television stations nationwide, these BSO/Charles Munch performances are being made available on DVD for the first time commercially…
Image by Rawhead Rex via Flickr Creative Commons
He was brought to Boston for an extended stay as a Rockerfeller Artist in Residence. We tried small little video experiments, but Paik was frustrated because using WGBH’s TV studios, crews, etc. were very expensive. He saw his small grant disappearing without any major creations. He looked for ways to make his work “as inexpensive as Xeroxing.”
The first broadcast of the synthesizer was a video marathon, broadcast live from 10:00 pm to 1:00 AM. Paik called it “Beatles, from beginning to end.”
Press and People
From Don Hallock — 12/10/2010
Here, dear friends, is a small collection of images from a series of programs which few will remember, though it was, indeed, quite memorable. WGBH produced Press and People for what was then NET (National Educational Television) in what I believe was 1959 or ’60.
I found this episode — a kinescope recording of the interview with Edward R. Murrow — on You Tube some years ago, and grabbed stills from the salient parts. The video seems to have been taken down since.
The program featured Louis M. Lyons — distinguished journalist, WGBH-TV’s nightly newscaster, and curator of the Nieman Foundation for Journalism at Harvard — talking with important print and photo-journalists of the time about their work and philosophies. The guest list was truly impressive.
This series was decidedly over-produced, using the entire of studio A for a simple one-on-one interview format.
Extreme camera angles and distances were employed, and boom microphones purposely hung in the shots, all for dramatic effect. A rear projection screen can be seen behind Louis, which I don’t remember ever seeing used (and I ran Louis’ camera). In fact, as I recall, it was placed so close to the studio wall that there would have been no room for a projector behind it. A steno-typist, as you can also see, was included in the background of the wider shots of Louis — why? Only for more drama.
Louis was seated about 35 feet away from his guest, necessitating the practice of voicing his questions at what was for Louis an unusual volume. The guests also had to project their answers, which gave a somewhat artificial feel to the proceedings.
Furthermore, Louis and guest were never seen in juxtaposition; there were no two-shots from either direction. They might as well have been as far apart as Boston and New York. Empty drama.
This was the era in which we were trying anything and everything to make our shows interesting, and some of it, such as this approach, simply didn’t make much sense. (It should be said that the director was not one of ours. He was imported from Canadian Broadcasting, and was possibly trying to make an impression.)
At the close of the show, the program title was shown with “and 30,” “-30-” (or, in this case, just “30-”), an expression traditionally used by journalists to indicate the end of a story. The camera then a dollied in through the “0″ of “thirty” (a hokey technique used before we had keying known as a “gobo shot”) to a card showing the steno-typist once again, and the address where one could write for a printed copy of the interview. The repeated typist would have been for emphasis, no doubt. A transcript could much more easily have been struck from the audio tapes we were quite capable of making — even then.
This slightly irreverent commemoration demonstrates how primitive even our national productions could be, and is further intended to redress, however modestly, the relative scarcity of images of Louis who was, in himself, a WGBH-TV institution.
Oh, yes, those are old fashioned, hot-pressed flip cards you see in the credits. And they are clearly crooked, as was so often the case in those days.
Press and People
Click any image to view slideshow.