The discussion of the pronunciation of Rued Langgaard’s name (July 28 entry) reminds me of a blog entry I had written for the station a few years ago and never submitted. It’s always a quandary for the radio announcer: do you strive be scrupulously correct, or to be understood?
In the case of Langgaard, I feel I always have to spell his name after I say it. If I’m feeling particularly self-conscious that day and don’t want to try everyone’s patience (since I would need to elucidate both before and after the piece), I just say “LAHN-gourd.” It’s not strictly Danish, perhaps, but at least listeners have a chance of remembering the name and maybe hunting down some of the recordings.
That’s not to say I’m not in favor of authenticity! But I don’t know that I would use “Langoh” in regular conversation, just as I would tend not to clear my throat on the “ch” when I say “Bach.”
On a related matter, you have a composer like Jean Françaix. You would think the “x” would be silent, since he’s French, but allegedly he preferred the “x” to be sounded. Yet English speakers almost always say “Fron-SAY,” and that extends to classical music radio announcers.
I have over the years used the “x” on most occasions, but again since it requires an explanation so that listeners don’t think I’m a complete idiot, sometimes I just say screw it and go with the flow.
And what’s the consensus on Edward German: soft or hard “G?” He’s English, so I generally use the former, but then I got an email once that it’s supposed to be the other way.
Let’s call the whole thing off!