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L.A. had no opera company in those days, and Slatkin said his parents likened film scores to modern opera scores.

Times have changed and the New Hollywood brings a more robust tone and more overt interaction to its effusive interpretation compared with the silken and playful Slatkin and crew, who were all Russian-trained players.

Slatkin noted that the recording, released in 1955, didn’t sell well, probably thanks to the album cover’s saturnine painting of a composer that few would recognize.

Slatkin also noted that his parents weren’t enamored of their performance, but then again, he explained that they were temperamentally ever ready to find fault.

He and Slatkin also go back decades, having performed together and become such good friends that the conductor turned pages for him in the Franck.