John Culshaw Net Worth: Age, Height, Weight, Bio

producers
January 1, 2020

John Culshaw Net Worth

How much is John Culshaw worth? For this question we spent 15 hours on research (Wikipedia, Youtube, we read books in libraries, etc) to review the post.

The main source of income: Producers
Total Net Worth at the moment 2022 year – is about $136,8 Million.

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Biography

John Culshaw information Birth date: May 28, 1924 Death date: 1980-04-27 Birth place: Southport, Lancashire, England, UK Profession:Producer, Music Department

Height, Weight

:How tall is John Culshaw – 1,60m.
How much weight is John Culshaw – 79kg

Pictures

John Culshaw Net Worth
John Culshaw Net Worth
John Culshaw Net Worth
John Culshaw Net Worth

Wiki

John Royds Culshaw OBE (28 May 1924 – 27 April 1980) was a pioneering English classical record producer for Decca Records. He recorded a wide range of music, but is best known for masterminding the first studio recording of Wagners Der Ring des Nibelungen, begun in 1958.Largely self-educated musically, Culshaw worked for Decca from the age of 22, first writing album liner notes and then becoming a producer. After a brief period working for Capitol Records, Culshaw returned to Decca in 1955 and began planning to record the Ring cycle, employing the new stereophonic technique to produce recordings of unprecedented realism and impact. He disliked live recordings from opera houses, and sought to put on disc specially made studio recordings that would bring the operas fully to life in the listeners mind. In addition to his Wagner recordings, he supervised a series of recordings of the works of Benjamin Britten, with the composer as conductor or pianist, and recordings of operas by Verdi, Richard Strauss and others.Culshaw left Decca in 1967 and was appointed head of music programmes for BBC Television, where he remained until 1975, employing a series of innovations to bring classical music to the television viewer. He later undertook several academic posts. He remains best remembered for his Decca records, along with Fred Gaisberg and Walter Legge, he was one of the most influential producers of classical recordings. The Times said of him that he stood in that great tradition of propagandists from Henry Wood to Leonard Bernstein, who seek to bring their love and knowledge of music to the widest audience.
Biography,Early yearsCulshaw was born in Southport, Merseyside, one of at least two children of Percy Ellis Culshaw, a bank inspector, and his first wife, Dorothy nee Royds. He was educated first at Merchant Taylors School, Crosby, which he despised for its snobbery and its sports-obsessed philistinism. His father then sent him to King George V Grammar School, Southport. When he left school in 1940, aged 16, he followed his father into the staff of the Midland Bank as a clerk, working at a branch in Liverpool. He had little aptitude or liking for banking, failing to pass the companys examination in banking theory, and in 1941 he volunteered to join the Fleet Air Arm as soon as he reached the minimum recruitment age in May 1942. He trained as a navigator, was commissioned as an officer, and promoted to lieutenant as a radar instructor. What spare time he had, he devoted to his passionate interest in music.Apart from piano lessons as a child, Culshaw was self-taught musically, and had no ambitions to be a performer. The critic and biographer Richard Osborne wrote of him, Like many people for whom music is an obsession, Culshaw was a lonely and meticulous person, jealously guarding the sense of personal integrity which his precocious interest in music had helped form and deepen. While in the Fleet Air Arm, Culshaw wrote articles on music by the dozen and – quite rightly – they came back by the dozen. After many rejections, his first substantial article to be accepted for publication was a piece on Sergei Rachmaninoff, for The Gramophone, published in March 1945. This led to invitations to broadcast musical talks for the BBC and to contribute articles to classical music magazines.DeccaAfter demobilisation from the forces, Culshaw joined the Decca recording company in November 1946, writing musical analyses and biographies of recording artists for Deccas classical albums. His first book, a short Biography, of Rachmaninov, was published in 1949 and was well received. The critic of The Times praised it for its discriminating judgment, conciseness and discretion.[11] It was followed by two further books, a popular introduction to concertos (The Concerto in The World of Music series in 1949), and a guide to modern music (A Century of Music in 1952).Georg Solti, conductor of the Decca Ring cycleBy 1947 Culshaw had been given the chance to produce classical sessions for Deccas rapidly expanding catalogue. At Decca, the musicians whom he recorded included Ida Haendel, Eileen Joyce, Kathleen Ferrier and Clifford Curzon.[12] In 1948 he first worked with Georg Solti, a pianist and aspiring conductor.[13] In 1950, after the introduction of the long-playing record (LP), he produced the first LP versions of the Savoy Operas with the DOyly Carte Opera Company.[14]In 1951, Culshaw and one of Deccas senior engineers, Kenneth Wilkinson, were sent to the Bayreuth Festival to record Wagners Parsifal.[15] For Culshaw, Wagner was an abiding passion,[16] and he persuaded Decca and the Bayreuth management to let him record that years Ring cycle in addition to Parsifal. The Ring recording could not be released, probably for contractual reasons.[17][n 1] The Parsifal recording, on the other hand, was released to great acclaim in 1952.[n 2] The Decca team returned to Bayreuth to record the 1953 performances of Lohengrin. The resultant recording was well reviewed,[n 3] but Culshaw wrote of it:… the cast was only of moderate ability, and we had access to far too few performances to make up anything really worth while. It was still felt that this was the only economic way to record Wagner, for the expense involved in taking his major works to the studio did not seem to be justified by the sales potential. But after the Lohengrin experience I found myself fervently hoping that I would never return to Bayreuth, at least in a recording capacity.[22]CapitolFrom 1953 to 1955 Culshaw headed the European programme for Capitol Records. As Capitol at that time had commercial ties with Decca, Culshaws move did not estrange him from the head of Decca, Edward Lewis, who generally took a dim view when his employees left Decca to join its competitors.[23] Culshaw found his attempts to build up a roster of classical artists for Capitol frustrated by bureaucracy at the companys headquarters in Los Angeles. He was prevented from encouraging the soprano Kirsten Flagstad to emerge from retirement, or from signing the conductor Otto Klemperer. The latter misjudgment, as Culshaw noted in his memoirs, was not repeated by Walter Legge of EMI, who signed Klemperer up with great artistic and commercial success.[24] Capitol further frustrated Culshaw by ignoring the impending introduction of stereophony which the major companies were working on.[24] Among the recordings Culshaw was able to make for Capitol were a Brahms Requiem conducted by Solti in Frankfurt, and what Peter Martland in the Oxford Dictionary of National Biography, calls a series of remarkable recordings of performances by Eduard van Beinum and the Concertgebouw Orchestra of Amsterdam.In early 1955, Lewis warned Culshaw that he had heard rumours that Capitol was on the point of severing its ties with Decca. Within days it was announced that Capitol had been taken over by EMI. Capitol sessions already booked were completed, including two records of Jacques Ibert conducting his own works, but EMI made it clear that it would put an end to Capitols classical activity, which was regarded as superfluous.[25] Lewis invited Culshaw to rejoin Decca, which he did in the autumn of 1955.[26]Stereo and the Decca RingFinding on his return to Decca that other recording producers were capably filling his former role, Culshaw concentrated on the emerging stereophonic recording technology, and stereo opera in particular.[26] A year after his return he was made manager of the companys classical recording division, a position of great influence in the classical music world.[27] The Gramophone obituarist wrote of him in 1980: To meet John Culshaw for the first time, quiet, charming, sharp-eyed but with no signs of aggressiveness about him, was to marvel that here was one of the two great dictators of recording art. If Walter Legge in a flash had one registering extrovert forcefulness in the very picture of a dictator, John Culshaws comparable dominance was something to appreciate over a longer span. … [H]e transformed the whole concept of recording.[27]Culshaw hoped to record Die Walkure with Flagstad, whom he persuaded out of retirement, as Brunnhilde. Flagstad, however, was over sixty, and would not agree to sing the whole opera. To capture as much of her Wagner as she was willing to record, Culshaw produced separate sets of parts of the opera in 1957. Act 1 was conducted by Hans Knappertsbusch with Flagstad in the role of Sieglinde, in the other set the Todesverkundigung scene from Act 2 and the whole of Act 3 were conducted by Solti with Flagstad as Brunnhilde. In those early years of stereo, Culshaw worked with Pierre Monteux in recordings of Stravinsky and Ravel, and with Solti in a recording of Richard Strausss Arabella. He also recorded the first of many New Years Day concerts by the Vienna Philharmonic and Willi Boskovsky.[28]Birgit Nilsson, Culshaws chosen BrunnhildeBy 1958 Decca, with its pre-eminent technical team (The Times called them Deccas incomparable engineers)[29] was in a position to embark on a complete studio recording of Wagners Ring cycle. Decca decided to begin its cycle with Das Rheingold, the shortest of the four Ring operas. It was recorded in 1958 and released in the spring of 1959. Culshaw engaged Solti, the Vienna Philharmonic and a cast of established Wagner singers. The performance won enthusiastic praise from reviewers, and the engineers were generally acknowledged to have surpassed themselves. The Gramophone described the recording quality as stupendous and called the set wonderful … surpass[ing] anything done before.[30] To the astonishment and envy of Deccas rivals the set outsold popular music releases such as those of Elvis Presley and Pat Boone.[31] The cast included Flagstad in one of her last recorded performances, in the role of Fricka, which she had never sung on stage. Culshaw hoped to record her as Fricka in Die Walkure and Waltraute in Gotterdammerung, but her health did not permit it.[32] His cast for the remaining three Ring operas included Birgit Nilsson, Hans Hotter, Gottlob Frick, Wolfgang Windgassen, Dietrich Fischer-Dieskau and Regine Crespin, with even minor roles sung by such stars as Joan Sutherland.[33]In these productions Culshaw put into practice his belief that a properly-made sound recording should create what he called a theatre of the mind.[34] He disliked live recordings such as those attempted at Bayreuth, to him they were technically flawed and, crucially, were merely sound recordings of a theatrical performance. He sought to make recordings that compensated for the lack of the visual element by subtle production techniques, impossible in live recordings, that conjured up the action in the listeners head.[34][n 4]Culshaw took unprecedented pains to meet Wagners musical requirements. Where in Das Rheingold the score calls for eighteen anvils to be hammered during two brief orchestral interludes – an instruction never followed in opera houses[n 5] – Culshaw arranged for eighteen anvils to be hired and hammered. Similarly, where Wagner called for steerhorns, Culshaw arranged for them to be used instead of the trombones habitually substituted at Bayreuth and other opera houses.[n 6] In The Gramophone, Edward Greenfield wrote:It was thanks to Culshaws devotion to Wagnerian intentions – ever encouraged by the engineer who was at his right hand through the whole project, Gordon Parry, himself a devoted Wagnerian – that in the Solti Ring cycle one is able to hear the scores in a way literally impossible in the theatre. Siegfrieds voice made to sound like Gunthers, the voice of Fafner from his cave, not to mention the splendour of anvils and rainbow bridge harps in Rheingold, all transcend what is heard in the opera-house.[27]In 1967, after the Decca Ring was complete, Culshaw wrote a memoir, Ring Resounding, about the making of the recording.[n 7] In 1999, Gramophone ran a poll of its readers to find the ten greatest recordings ever made. The Decca Ring topped the poll.[38]Britten, Karajan and othersHerbert von Karajan recorded for Decca in the 1960sCulshaw produced a series of Decca recordings of Brittens music with the composer as conductor or pianist. The Times described them as a priceless heritage for posterity. Culshaw persuaded Decca to make the first complete recording of Peter Grimes, arguing that unless they did so they should abandon their exclusive agreement with the composer and so give him a chance to try his luck with other companies. Decca, unwilling to lose out to competition, gave the go-ahead.[39] Culshaw, who was then responsible for recordings in Vienna, was unavailable to produce that pioneering recording, which was also the first modern opera to be recorded in stereo: instead, he planned it down to the last detail, and passed his detailed instructions to Erik Smith, who produced the recording.[40] Among the works Culshaw himself recorded with Britten were the operas Albert Herring (1964), A Midsummer Nights Dream (1967), and Billy Budd (1968).[41] Culshaw wrote, The happiest hours I have spent in any studio were with Ben, for the basic reason that it did not seem that we were trying to make records or video tapes, we were just trying to make music.[42]Culshaw thought of all his recordings, that of Brittens War Requiem was the finest.[27] Greenfield says of it, another recording which confounded the record world not just by its technical brilliance but by the way it sold in huge quantities.[27] The recording was made in London in 1963, the year after the premiere of the Requiem at the consecration of the new Coventry Cathedral. For the recording Culshaw managed to assemble the three singers whom Britten had in mind when writing the work, uniting Russian, German and English soloists to represent the former enemy nations – Galina Vishnevskaya, Dietrich Fischer-Dieskau and Peter Pears.[27]One composer Culshaw had nothing to do with was Mahler. He had a strong aversion to Mahlers music, writing that it made him feel sick: not metaphorically but physically sick. I find his strainings and heavings, juxtaposed with what always sounds (to me) like faux-naif music of the most calculated type, downright repulsive.[43]Culshaw produced many of the conductor Herbert von Karajans best-known operatic and orchestral sets, which remain in the catalogues four decades later. The opera sets include Tosca, Carmen, Aida, Die Fledermaus and Otello, among the orchestral sets were Holsts The Planets and several Richard Strauss works including the then rarely heard Also sprach Zarathustra.[44][45]In the late 1950s Decca entered into a commercial partnership with RCA, by which Decca teams recorded classical works in European venues on RCAs behalf. Among the recordings supervised by Culshaw for RCA were Sir Thomas Beechams lavishly re-orchestrated version of Handels Messiah. Other artists with whom he worked for Decca and RCA included pianists such as Wilhelm Backhaus, Arthur Rubinstein and Julius Katchen, conductors including Karl Bohm, Sir Adrian Boult, Pierre Monteux, Fritz Reiner, and George Szell, and singers such as Carlo Bergonzi, Jussi Bjorling, Lisa Della Casa, Leontyne Price, and Renata Tebaldi.[46]

Summary

Wikipedia Source: John Culshaw

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