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ARSC Journal
A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers. -
Boston Symphony Orchestra Concert Programs, Season 88
BOSTON SYMPHONY v^Xvv^JTa Jlj l3 X JlVjl FOUNDED IN 1881 BY HENRY LEE HIGGINSON THURSDAY A SERIES EIGHTY-EIGHTH SEASON 1968-1969 Exquisite Sound From the palaces of ancient Egypt to the concert halls of our modern cities, the wondrous music of the harp has compelled attention from all peoples and all countries. Through this passage of time many changes have been made in the original design. The early instruments shown in drawings on the tomb of Rameses II (1292-1225 B.C.) were richly decorated but lacked the fore-pillar. Later the "Kinner" developed by the Hebrews took the form as we know it today. The pedal harp was invented about 1720 by a Bavarian named Hochbrucker and through this ingenious device it be- came possible to play in eight major and five minor scales complete. Today the harp is an important and familiar instrument providing the "Exquisite Sound" and special effects so important to modern orchestration and arrange- ment. The certainty of change makes necessary a continuous review of your insurance protection. We welcome the opportunity of providing this service for your business or personal needs. We respectfully invite your inquiry CHARLES H. WATKINS & CO. Richard P. Nyquist — Charles G. Carleton 147 Milk Street Boston, Massachusetts Telephone 542-1250 PAIGE OBRION RUSSELL Insurance Since 1876 BOSTON SYMPHONY ORCHESTRA ERICH LEINSDORF Music Director CHARLES WILSON Assistant Conductor EIGHTY-EIGHTH SEASON 1968-1969 THE TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA INC. TALCOTT M. BANKS President HAROLD D. HODGKINSON PHILIP K. ALLEN Vice-President E. MORTON JENNINGS JR ROBERT H.GARDINER Vice-President EDWARD M. -
Eugene Ormandy Commercial Sound Recordings Ms
Eugene Ormandy commercial sound recordings Ms. Coll. 410 Last updated on October 31, 2018. University of Pennsylvania, Kislak Center for Special Collections, Rare Books and Manuscripts 2018 October 31 Eugene Ormandy commercial sound recordings Table of Contents Summary Information....................................................................................................................................3 Biography/History..........................................................................................................................................4 Scope and Contents....................................................................................................................................... 4 Administrative Information........................................................................................................................... 5 Related Materials........................................................................................................................................... 5 Controlled Access Headings..........................................................................................................................6 Collection Inventory...................................................................................................................................... 7 - Page 2 - Eugene Ormandy commercial sound recordings Summary Information Repository University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts Creator Ormandy, Eugene, 1899-1985 -
Boston Symphony Orchestra Concert Programs, Season
[Harvard University] Thursday Evening, November 3 at 8 o'clock Boston Symphony Orchestra [Fifty-eighth Season, 1938-1939] SERGE KOUSSEVITZKY, Conductor Personnel Violins BURGIN, R. ELCUS, G. LAUGA, N. SAUVLET, H. RESNIKOFF, V. Concert-master GUNDERSEN, R KASSMAN, N. CHERKASSKY, P. EISLER, D. THEODOROWICZ, J. HANSEN, E. MARIOTTI, V. FEDOROVSKY, P. TAPLEY, R. LEIBOVICI, J. PINFIELD, C. LEVEEN, P. KRIPS, A. KNUDSON, C. ZUNG, M. BEALE, M. CORODETZKY, L. MAYER, P. DIAMOND, S. DEL SORDO, R. FIEDLER, B. BRYANT, M. STONESTREET, L. MESSINA, S. DICKSON, H. MURRAY, J. ERKELENS, H. seiniger, s. Violas LEFRANC, J. FOUREL, G. BERNARD, A. GROVER, H. II. ARTIERES, L. CAUHAPE, J. VAN WYNBERGEN, C. WERNER, AVIERINO, N. JACOB, R. GERHARDT, S. HUMPHREY, G. Violoncellos BEDETTI, FABRIZIO, E. J. LANGENDOEN, J. CHARDON, Y. STOCKBRIDGE, C. l. ZIGHERA, A. TORTELIER, P. DROEGHMANS, H. WARNKE, J. MARJOLLET, ZIMBLER, J. Basses KUNZE, M. LEMAIRE, J. FRANKEL, I. GIRARD, H. DELESCLUSE, P. VONDRAK, A. MOLEUX, G. JUHT, L. DUFRESNE, G. BARWICKI, J. Flutes Oboes Clarinets Bassoons LAURENT, G. CILLET, F. POLATSCHEK, V. ALLARD, R. RATEAU, R. DEVERGIE, J. VALERIO, M. PANENKA, E. PAPPOUTSAKIS, J- LUKATSKY, J. MAZZEO, R. LAUS, A. Eb Clarinet Piccolo English Horn Bass Clarinet Contra-Bassoon MADSEN, G. SI'EYER, L. MIMART, P. FILLER, B. Horns Horns Trumpets Trombones VALKENIER, W. SINGER, J. mager, g. RAICHMAN,J. MACDONALD, W LANNOYE, M. lafosse, m. HANSOTTE, L. SINGER, J. SHAPIRO, H. VOISIN, R. L. LILLEBACK, W. GEBHARDT, W. KEANEY, P. VOISIN, R. SMITH, V. Tuba Harps Timpani Percussion ADAM, E. ZIGHERA, B. SZULC, R. STERNBURG, S. CAUGHEY, E. POLSTER, M. -
Toscanini IX – New York, Milan and Lucerne, 1945-47
Toscanini IX – New York, Milan and Lucerne, 1945-47 Since Stokowski failed, through his own doing, to establish himself as the face and music director of the NBC Symphony, the door was open for Toscanini’s full-time return, which happened in the 1944-45 season. Stokie’s failure to do so, of course, flies in the face of the Toscanini-bashers since he had nothing to do with what happened. It should also be pointed out that, as a naturalized U.S. citizen, Stokowski “wrapped himself in the flag” nearly as much as Toscanini did—but again, this holds no water with the Toscanini-bashers. As for the Italian’s becoming a cult figure, that had as much to do with his longevity, surprisingly good health and continued ability to conduct performances that were powerful and musically interesting. Although he was surely one of that small group of conductors whose name could sell out a concert hall quickly, he was not the only one. Cults had also sprung up around not only Stokowski but also Beecham, Furtwängler, Mengelberg and Krauss, encouraged by those personalities. Toscanini was, for better or worse, simply a manic workaholic who produced almost (but not quite) consistently dazzling and valid performances and thus rose to their level by the time he was co-leading the New York Philharmonic in the late 1920s, when he was already in his early 60s, and although he personally did nothing to create an aura of mysticism about him, as the other four names above clearly did, his refusal to grant interviews and legendary temper explosions at rehearsals made him a cult figure. -
What's Become of the Great Recordings of 1951-61? \Lost of Them Fortunate)Are Still with Us in One Form Or Another
What's Become of the Great Recordings of 1951-61? \lost of them fortunate)are still with us in one form or another. From our 1961 list of thirty-nine recordings, twenty-three still remain in the catalogue as they were originally issued, five have been reissued on budget labels, and eleven have been deleted. BACH: Aria with 30 Variations,in G Choir;LondonSymphonyOrchestra, SCHUMANN: Waldszenen, Op. 82; Fan- ("Goldberg Variations"), S. 988. Glenn Hermann Scherchen,cond.Westmin- tasiestUcke,Op.12;March Op.76, Gould, piano. Columbia MS 7096 (re - ster WAL 308 (deleted). No. 2. Sviatoslav Richter, piano. Decca channeled stereo). DL 9921 (deleted). HANDEL: Semele. Vyvyan, Pollack, BACH: St. Matthew Passion,S.244. Herbert,etal.;St. Anthony Singers; SIBELIUS: Concerto for Violin and Or- Laszlo, Rossl-Majdan, Munteanu, Cue - New Symphony Orchestra of London, chestra,in D minor, Op. 47. Jascha nod, Waechter, Standen, Rehfuss; Anthony Lewis, cond. Oiseau-Lyre Heifetz, violin; Chicago Symphony Or- Chorus and Orchestra, Hermann Scher- 50098/100. chestra, Walter Hendl, cond. RCA Red chen, cond. Westminster 4402. Seal LSC 2435. HAYDN: "Salomon" Symphonies, Nos. BACH: Organ Works. Helmut Walcha, 93-104. Royal Philharmonic Orchestra, STRAUSS, R.: Ariadne aufNaxos. organ. Archive ARC 3013/30 (deleted). Sir Thomas Beecham, cond. Angel S Schwarzkopf, Seefried, Streich, Schock, 36242/4, S 36254/6 (deleteo). et al ; Philharmonia Orchestra, Herbert BACH: The Well -Tempered Clavier,S. von Karajan, cond. Angel 3532. 846/93 (complete). Wanda Landowska, IVES: Symphony No. 2. New York Phil- harpsichord. RCA Red Seal LM 6801. harmonic, Leonard Bernstein, cond. Co- STRAUSS, R.: Der Rosenkavalier. -
Recording Master List.Xls
UPDATED 11/20/2019 ENSEMBLE CONDUCTOR YEAR Bartok - Concerto for Orchestra Baltimore Symphony Orchestra Marin Alsop 2009 Bavarian Radio Symphony Orchestra Rafael Kubelik 1978L BBC National Orchestra of Wales Tadaaki Otaka 2005L Berlin Philharmonic Herbert von Karajan 1965 Berlin Radio Symphony Orchestra Ferenc Fricsay 1957 Boston Symphony Orchestra Erich Leinsdorf 1962 Boston Symphony Orchestra Rafael Kubelik 1973 Boston Symphony Orchestra Seiji Ozawa 1995 Boston Symphony Orchestra Serge Koussevitzky 1944 Brussels Belgian Radio & TV Philharmonic OrchestraAlexander Rahbari 1990 Budapest Festival Orchestra Iván Fischer 1996 Chicago Symphony Orchestra Fritz Reiner 1955 Chicago Symphony Orchestra Georg Solti 1981 Chicago Symphony Orchestra James Levine 1991 Chicago Symphony Orchestra Pierre Boulez 1993 Cincinnati Symphony Orchestra Paavo Jarvi 2005 City of Birmingham Symphony Orchestra Simon Rattle 1994L Cleveland Orchestra Christoph von Dohnányi 1988 Cleveland Orchestra George Szell 1965 Concertgebouw Orchestra, Amsterdam Antal Dorati 1983 Detroit Symphony Orchestra Antal Dorati 1983 Hungarian National Philharmonic Orchestra Tibor Ferenc 1992 Hungarian National Philharmonic Orchestra Zoltan Kocsis 2004 London Symphony Orchestra Antal Dorati 1962 London Symphony Orchestra Georg Solti 1965 London Symphony Orchestra Gustavo Dudamel 2007 Los Angeles Philharmonic Andre Previn 1988 Los Angeles Philharmonic Esa-Pekka Salonen 1996 Montreal Symphony Orchestra Charles Dutoit 1987 New York Philharmonic Leonard Bernstein 1959 New York Philharmonic Pierre -
001-048 Pathé, Berlin Two Acoustic, Single-Sided, Center Start, Etched Label Discs Made in Berlin in 1914, Possibly 87 Rpm, 11
001-048 Pathé, Berlin Two acoustic, single-sided, center start, etched label discs made in Berlin in 1914, possibly 87 rpm, 11 1/2", entitled "Lotte Lehmann, Stadt-theater Hamburg." No orchestra or conductor is known. The matrix is followed by catalogue numbers and the LP reference. 001 LOHENGRIN: Einsam in trüben Tagen (Wagner); 55978; 42048, (14): RA-1110; coupling 5844; LP: 54. 002 LOHENGRIN: Euch Lüften, die mein Klagen; 55979; 42048, (14): RA- 1008; coupling 5844; LP: 54. GRAMMOPHONE/POLYDOR, Berlin Approved for registration or issue from December 1916 to early 1921, the individual dating is only approximate. The RPM varies from 78-80. These acoustic recordings also appeared on the Vocalion label and are so listed when this occurred. Orchestras and conductors aren't known. The matrix is followed by three catalogue numbers: 1) 12" single-sided, which begin with 76, or 12" double-sided, which begin with 72; 2) 10" single-sided, which begin with 74, or 10" double-sided which begin with 70 or 80; and 3) the international catalogue number begins with 040 or numbers prefixed with "B". Juynboll states: "Some titles were recorded twice or three times during the same recording session. Each recording of the same title bearing the same matrix number is technically known as a "take". Take 1 is the initial recording, the repeat would be take 2, a second repeat take 3, and so on. A later take could be made at a subsequent session...." Juynboll also states that the L or m at the end of the matrix numbers denotes that the recording engineer was Franz Hampe. -
Serge Koussevitzky: a Complete Discography, Part I
SERGE KOUSSEVITZKY: A COMPLETE DISCOGRAPHY, PART I Edward D. Young INTRODUCTION1 As one thinks about the contents of this discography, it seems that Serge Koussev itzky was fortunate to make so many fine recordings. Recording in Koussevitzky's time was not undertaken as frequently as it is today because it was difficult and expensive. Electrical process audio recording (developed by the Western Electric Division of the American Telephone and Telegraph Company) that could begin to capture the sound of a symphony orchestra was not made available to the record industry until 1924, the same year that Koussevitzky began his epic tenure as Music Director (1924-1949) of the Boston Symphony Orchestra (BSO). Koussevitzky died in 1951, at the dawn of the age of modern high fidelity recording on magnetic tape, and only a handful of his last Victor recordings with the Boston Symphony Orchestra were captured in this medium. The Great Depression of the 1930s slowed down all recording and broadcasting activity. Troubles with the musicians' union kept the Boston Symphony from broad casting and from making commercial records for over five years. Radio sponsors were lacking for the BSO's concerts over the air. Koussevitzky and the Symphony management turned down repeated offers from Columbia Records and the CBS Radio Network that probably would have enabled a discographer to fill many more pages than are printed here. Instead, the BSO contjnued to renew an exclusive contract with RCA Victor-National Broadcasting Company which already was over crowded with artists seeking to record and broadcast, with the result that no one received the attention they deserved. -
RCA Victor Consolidated Series
RCA Discography Part 17 - By David Edwards, Mike Callahan, and Patrice Eyries. © 2018 by Mike Callahan RCA Victor Consolidated Series In 1972, RCA instituted a consolidated series, where all RCA releases were in the same series, including albums that were released on labels distributed by RCA. APL 1 0001/APD 1 0001 Quad/APT 1 0001 Quad tape — Love Theme From The Godfather — Hugo Montenegro [1972] Medley: Baby Elephant Walk, Moon River/Norwegian Wood/Air on the G String/Quadimondo/I Feel the Earth Move/The Godfather Waltz/Love Theme from the Godfather/Pavanne/Stutterolgy RCA Canada KPL 1 0002 — Trendsetter — George Hamilton IV [1975] Canadian LP. Bad News/The Ways Of A Country Girl/Let My Love Shine/Where Would I Be Now/The Good Side Of Tomorrow/My Canadian Maid/The Wrong Side Of Her Door/Time's Run Out On You/The Isle Of St. Jean/The Dutchman RCA Red Seal ARL 1 0002/ARD 1 0002 Quad – The Fantastic Philadelphians Volume 1 – Eugene Ormandy and Philadelphia Orchestra [1972] EspanÞa Rhapsody (Chabrier)/The Sorcerer's Apprentice (Dukas)//Danse Macabre (Saint-Sae8ns)/A Night On Bald Mountain (Moussorgsky) 0003-0007 (no information) RCA Special Products DPL 1 0008 – Toyota Jazz Parade – Various Artists [1973] Theme from Toyota – Al Hirt/Java – Al Hirt/Cotton Candy – Al Hirt/When the Saints Go Marching In – Al Hirt/At the Jazz Band Ball – Dukes of Dixieland/St. Louis Blues – Louis Armstrong/St. James Infirmary – King Oliver//Hi-Heel Sneakers – Jose Feliciano/Amos Moses – Jerry Reed/Theme from Shaft – Generation Gap/Laughing – Guess Who/Somebody to Love – Jefferson Airplane 0009-0012 (no information) APL 1 0013/APD 1 0013 Quad/APT 1 0013 Quad tape — Mancini Salutes Sousa — Henry Mancini [1972] Drum Corps/Semper Fidelis/Washington Post/Drum Corps/King Cotton/National Fencibles/The Thunderer/Drum Corps/El Capitan/The U. -
Composer Title Catalogue No Label Conductor Orchestra Date ADAM
Composer Title Catalogue No Label Conductor Orchestra Date ADAM Giselle-Ballet ACL79 Decca Ace Of Clubs, Mono Blareau, Richard L'Orchestra Du Theatre National 1960 :'Opera Paris ALBINONI Six Concertos Stu70475 Erato (France), Stereo Scimone, Claudio I Solisti Veneti 1970 ALBINONI Adagio for Organ and Strings TV34135S Vox Turnabout Rilling, Helmuth Wuertemberg Chamber 1964/67 MOZART Orchestra CORRETTE HANDEL ALBINONI Oboe Concerto in A minor/D minor/B flat CFP163 EMI Classics For Pleasure, Davidson, Arthur The Virtuosi Of England 1971 VIVALDI major Stereo ARNOLD Symphony No 5/Peterloo Overture/4 Cornish ASD2878 EMI-HMV Arnold, Malcolm City Of Birmingham Symphony 1973 Dances Orchestra BACH Switched on Bach 63501 CBS Stereo 1968 BACH Peter Schreier Arien aus Kantaten 825865 Eterna - Stereo Mauesberger Gewandhausorchester Leipzig 1971 BACH Brandenburg Concerto No.2 2565010 Archive Production Richter, Karl Munich Bath Orchestra Concerto for 2 harpsichords, strings ans Continuo in C minor Suite for Orchestra No.1 in C minor BACH 300 Jahre JS Bach Vol 7 - Kantaten 2901501 HMV/EMI Steroe Gonnenwein Suddeutsher Madrigalchor 1987 Consortium Musicum BACH Jaques Loussier trio 6308177 Phillips 1973 BACH On the Silbermann Organ at Fraureuth 6540010 Fontana Special (Stereo) 1968 BACH Violin concertos 6580021 Phillips Red 1958 BACH BRANDENBURG CONCERTO 1,2,3 410 500 - 1 ARCHIV PRODUKTION PINNOCK THE ENGLISH CONCERT 1983 BACH BRANDENBURG CONCERTO 4,5,6 410 501 - 1 ARCHIV PRODUKTION PINNOCK THE ENGLISH CONCERT 1983 BACH Orchestral Suites - Great Composers -
London CS 6225, CM Debussy: La Mer-The Giulini Recording (Angel
get line there is a respectable recording by Sir John Bar- birolliand the Halle Orchestra (Vanguard Everyman 182SD, 182). Elgar: Enigma Variations -The classic Toscaniniper- formance (RCA Victor LM 1725) hasnow been with- drawn; I hope itis scheduled for early reissue on the low -price Victrola label. Until then, the Barbirolli-Halle Orchestra performance (Vanguard Everyman 184SD, 184) is the disc version I prefer, with the more recent and less vital Barbirolli-Philharmonia Orchestra performance the Debussy: Iberia-Ansermet's (London CS 6225, CM current choice on tape (Angel Y2S 3668) -the listed tape 9293) most satisfies me among recordings of all three of (Vanguard C 1915) of the Barbirolli-Halle Orchestraper- Debussy's orchestral Images, with Reiner's (RCA Victrola formance has never reached me for evaluation. VICS/VIC 1025) the best of the recordings of Iberia only (and priced low, too). The Ansermet performance is also Franck: Violin and Piano Sonata-Morini and Firkus- available, coupled with works by Stravinsky and Ravel, ny (Decca 710038, 10038) are my first choice, with Stern- on tape (London L 80085). Zakin (Columbia MS 6139, ML 5470) not far behind. There is no tape version listed in the current catalog. Debussy: La Mer-The Giulini recording (Angel S 35977, 35977) maintains first place for me, and the later of Franck: Symphony in D Minor -The performance by Ansermet's stereo recordings of the score (London CS 6437, Pierre Monteux and the Chicago Symphony Orchestra CM 9437; tape L 80178) runs a very close second. Either (RCA Victor LSC/LM 2514; tape FTC 2092) remains, for Barbirolli (Vanguard Everyman 177SD, 177) or Munch me, unchallenged.