Editing Leopold Stokowski (section)

==Legacy==
After Stokowski's death, Tom Burnam writes, the "concatenation of canards" that had arisen around him was revived&nbsp;— that his name and accent were phony; that his musical education was deficient; that his musicians did not respect him; that he cared about nobody but himself. Burnam suggests that there was a dark, hidden reason for these rumours. Stokowski deplored the segregation of symphony orchestras in which women and minorities were excluded, and, Burnam claims, his detractors got revenge by slandering him. Nevertheless, and notwithstanding Burnam's claims, attitudes towards Stokowski have changed dramatically since his death. In 1999, for ''[[Gramophone (magazine)|Gramophone]]'' magazine, the noted music commentator [[David Mellor]] wrote: "One of the great joys of recent years for me has been the reassessment of Leopold Stokowski. When I was growing up there was a tendency to disparage the old man as a charlatan. Today it is all very different. Stokowski is now recognised as the father of modern orchestral standards. He possessed a truly magical gift of extracting a burnished sound from both great and second-rank ensembles. He also loved the process of recording and his gramophone career was a constant quest for better recorded sound. But the greatest pleasure of all for me is his acceptance now as an outstanding conductor of nineteenth- and twentieth-century music, including a lot that was at the cutting edge of contemporary achievement."{{Citation needed|date=July 2014}}

His collection of 935 orchestral scores and 215 orchestral transcriptions is now in the libraries of the [[University of Pennsylvania]].<ref>{{cite web|url=https://www.library.upenn.edu/collections/notable/leopold-stokowski-collection|title=Leopold Stokowski Collection|publisher=University of Pennsylvania|access-date=2025-04-30}}</ref>