As it happened, I had been present at that memorable Stokowski debut in London one spring afternoon in 1908, when the young organist from St. Bartholomew’s electrified a Queen’s Hall audience. I still remember the already then typically Stokowskian sound of the London Orchestra in the concluding number- Tchaikovsky’s Marche Slave – and the feline suppleness of the orchestral support that the young conductor gave to Zimbalist’s playing of Glazunov’s Concerto, then still a comparative novelty.