On and Off the Record: A Memoir of Walter Legge

by Elisabeth Schwarzkopf, Herbert von Karajan (Contributor), Peter G. Davis (Contributor)

For decades, Walter Legge (1906-1979) was the dominant figure in the recording of classical music. As music critic of the Manchester Guardian, head of the classical division of EMI/Angel, assistant artistic director at Covent Garden, and founder-owner of the great Philharmonia Orchestra, he was at the very center of international musical life during the mid-twentieth century.
A self-absorbed authoritarian and perfectionist who was either revered or detested by his contemporaries, Legge was passionately devoted to the highest standards of performance. Known as the "autocract of the turntable" or "the pope of music," Legge collaborated with such singers and conductors as Maria Callas, Herbert von Karajan, Sir Thomas Beecham, and Otto Klemperer to produce hundreds of recordings that are still considered the finest ever made in opera, the symphonic literature, chamber music, and especially German Lieder.
In On and Off the Record, the great soprano Elisabeth Schwarzkopf, Legge's wife and musical associate for over thirty years, compiles and annotates writings both by and about her late husband to provide a fascinating and rich portrait of this complicated musical genius. Connected by Schwarzkopf's own charming narrative, the collection combines fragments from Legge's unfinished autobiography, his correspondence, and his musical criticism with tributes from colleagues as well as radio and television interviews. The work includes an appreciation by Dorle Soria, cofounder of Angel Records, observations by distinguished musicologist Edward Greenfield on Legge's studio sessions, and a selected discography by Alan Sanders.

Genres: Music

292 pages, Paperback

First published September 1, 1982

Reviews

[Debbie Bridge · Rating 4 out of 5]

When I started reading this book I wasn’t sure quite what I was reading, as it seemed to start from what others said about him and then ran into a long list of critics he had written. It took me awhile to get into how it was being presented, but in the end, I found it a really good read and very insightful, as a lot is written by Legge himself, so it does give you a really good impression of who he was and how much he devoted to his life to his work, so it feels more autobiographical.

I really enjoyed it and it’s added a really good understanding to the other biographies I’ve been reading about people and the industry at this time. I’ve heard good and bad about him, but one thing I do not doubt was his devotion to something he loved very deeply and that was classical music on recordings and elsewhere. I am sad I did not find out more about him when he was alive and Elisabeth Schwarzkopf, as they really were about trying to do the best with what they had and nurturing that. Something I find really lacking in the modern music industry, especially classically, it seems to be all about the bottom dollar. I do understand that the industry needs to make money, but Walter Legge managed to do that, but kept to nurturing talent, rather than using it for as long as it serves the gimmicks with which they sell recordings, rather than the true talent of the artists behind those recordings.

[Bill FromPA · Rating 4 out of 5]

An entertaining collection of occasional pieces by Legge, supplemented with a few reminiscences by colleagues, introduced and with commentary by Mrs. Legge, Elizabeth Schwartzkopf. The pieces concentrate on singers and conductors, with one piece having a dual focus on critic Ernest Newman and composer Hugo Wolf, the latter perhaps the great composer most in need of the kind of passionate advocacy Legge provides. The worlds of opera and Lieder get the most attention, with instrumentalists and chamber music almost completely ignored except for an occasional passing mention. Despite Legge's having founded the Philharmonia Orchestra and Chorus, there is not a lot of discussion of orchestral and choral music, except for a few specific areas, such as Sibelius' symphonies. The most worshipful piece is the one on Herbert von Karajan, who seems to be Legge's idea musician. A piece on Callas, despite its title, "La Divina", is clear-eyed and appreciative without being hagiographic. Legge is not much for musical modernism, his idea of 20th century music being Strauss and Puccini, and he absolutely loathes what has come to be termed Regieoper. One imagines opera productions under Legge's regime would become pretty stultifying, despite being brilliantly performed. With the additional pieces and editorial matter all highly supportive of Legge's views and achievements, the book carries a certain air of incense (or to use Legge's preferred term, Weirauch) about it.