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. Koussevitzky made his first recordings in 1928, at the age of 54, when the science of electrical recording was in its infancy. When he returned from his summer vacation in Europe, in the fall of that year, his first task was to make a set of recordings playing his double bass at the old Victor Talking Machine Company stu­ dios in Camden, New Jersey. Six weeks later, more Victor records were on the agenda as he and the BSO began a series of recordings that were to span the next 22 years. Note that in this discography, reference to ''Victor" means RCA Victor records. In the time when Koussevitzky was making these records, they were referred to as ARSC Journal, Spring 1990 45 Koussevitzy, Part I Victor records and this designation still refers to old records in general from this company. Recordings made from radio broadcasts form a major portion of the material listed in this discography. Made over the period from 1936 to 1951, they in some ways assume an importance even greater than the commercially made Victors (and one Columbia). Along with privately made recordings, these "noncommercial" ones contain much repertoire that Koussevitzky never recorded commercially. It also has been observed that such recordings, not just by Koussevitzky but by all artists, often capture an excitement that is sometimes lacking in those that were made in formal recording sessions. At the time that these were being made, even those made of radio broadcasts, very few people knew this material was being preserved for posterity. These record­ ings have remained relatively unknown, except for those aired in the BSO's radio series "The Art of Serge Koussevitzky" that ran on many FM radio stations in the 1960s and 1970s. Unfortunately, very few of Koussevitzky's commercially issued recordings have been available for many years. Because most of the requisite payments to the or­ chestras and unions have long since been made, it would be far less costly to reissue these than to issue any of Koussevitzky's radio broadcast or other non-commercial recordings. "The Koussevitzky Legacy" series contained all of his commercially issued recordings. These were hour-length radio programs that the author produced and distributed over the period from 1966 to 1974. They will be returning to the air in the early 1990s. However, because the orchestras and unions never have been compensated for the non-commercial recordings, issuance of these to the public would be prohibitively expensive. Although it is of scant relevance to most of us alive today, under the U.S. copyright law as amended in 1976, all of these recordings will pass into the public domain in the year 204 7. Of special interest are recordings of Koussevitzky speaking. They are listed in the Main Listing Section of this discography under the alphabetical heading of "Koussevitzky." These interviews and speeches give us important insights into the man who loomed as such a giant in the musical world of the first half of the twentieth century. Recordings of the remarkable NBC half-hour radio series "Dress Rehearsal" provide more understanding of this great artist at work with his beloved Boston Symphony. The area of least documentation on Koussevitzky is film. The author has heard that in the early years of Tanglewood, people often made 8 mm movies of Koussev­ itzky, especially family members of BSO players. To my knowledge none of these have ever turned up. MAIN LISTING SECTION The Main Listing Section of this discography lists all sound recordings made by Serge Koussevitzky known by the author to exist. This includes all recordings of Koussevitzky conducting, speaking, and playing the double bass. Recordings are of Koussevitzky conducting the Boston Symphony Orchestra, and are of complete works, unless otherwise noted. Virtually all of the recordings listed in the pages of this section are known by the author to exist on the basis of first hand audition. The 46 ARSC Journal, Vol. 21, No.1 Koussevitzky, part I handful of recordings listed that are not known on a first hand basis nonetheless are listed in this section because reasonable evidence from trustworthy sources confirms their existence. Recording locations are given by abbreviation, following the date that the re­ cording was made. The key to these abbreviations may be found in the "Key to Recording and Broadcast Locations." Material in the Main Listing Section is organized alphabetically by composer name. Recordings of Koussevitzky speaking are listed chronologically under the heading "Koussevitzky." Recordings listed in the Main Listing Section are classified into three categories according to origin. These categories are "RCA," "Broadcast," and "Privately Made." The "RCA" recordings from 1928 and 1929 were made by the Victor Talking Machine Company. After 1930, the "RCA" and "unpublished RCA" recordings were made by RCA Victor Records, which was part of a complex of companies organized by David Sarnoff which included the Radio Corporation of America and the National Broad­ casting Company. These are the most familiar recordings as they were sold to the public over a period of many years, and a few of them are still available for sale. They are the commercially issued recordings, for which the orchestras and unions received compensation. "Broadcast" and "privately made" recordings are noncom­ mercial. They were recorded from radio network lines during live broadcasts, or at the site of the performance, but never marketed to the public because the requisite payments to the orchestras and unions were not made. One broadcast may have been allowed, but for anything more than that the orchestra and unions would have had to be paid. This discography includes separate sections that give detailed information on Koussevitzky's commercially published RCA, unpublished RCA-made, and BSO fund raiser records. When a recording is designated "RCA," this means that it was pub­ lished commercially, and detail on its issuances as well as complete numbers of its 78 rpm parts will be found in the Commercial Recording Detailed Listing. Only unpublished RCA recordings that are definitely known to exist are listed in the Main Listing Section. A separate section, Unpublished RCA Victor-made Recording De­ tailed Listing, lists all Victor-made records that were made but never issued, includ­ ing some that may no longer be in existence. The unpublished section indicates, on a case by case basis, the status of these recordings, This discography does not list pirate or bootleg LPs and CDs containing Koussev­ itzky performances that have appeared in the last few years. To the author's knowl­ edge, none of these are available any longer. The Main Listing Section is followed by separate sections that give additional detail on commercially published RCA, "unpublished RCA," and Boston Symphony Orchestra fund raiser recordings. When a recording is designated as "RCA" in the Main Listing Section, this means it was published commercially, and additional detail on its various issuances, as well as the numbers of its 78 rpm parts, will be found in the Commercial Recording Detailed Listing. COMMERCIAL RECORDING DETAILED LISTING SECTION The purpose of this section is to give additional information on commercially issued recordings by Serge Koussevitzky over and above what is given in the Main Listing Section. This includes: ARSC Journal, Spring 1990 47 Koussevitzy, Part I -- the date of first release; -- complete 78 rpm album and individual record catalog numbers as issued; -- complete 78 rpm record couplings (45 rpm, LP and CD couplings not given); -- 45 rpm (album and single), LP, and CD numbers; -- individual 78 rpm record side matrix and published take numbers, including subsequent recording date of published retaken sides where applicable; -- the total number of times that each 78 side was recorded; -- the portion and/or description of the music that is contained on each 78 record side (e.g., 1st movement, 2nd movement, "Harold In The Mountains," "In Petrouchka's Room,"); -- and in some cases, at the end of the listing, a reference to the "Notes On Re­ cordings" section. In this section, the most detail is given to the 78 rpm versions of these recordings because all other issuances derive from them.