Further Recordings of 1934 - October through December
In October, November and December, 1934, Stokowski and the Philadelphia
Orchestra began their Autumn series of recordings for Victor, beginning
October 8, 1934. This was at the same time that Stokowski
opened the 1934-1935 Philadelphia Orchestra season with concerts Friday
afternoon, Saturday and Tuesday evenings October 5, 6 and 9, 1934.
This also would be an active period of recordings in Victor's
Camden Church Studio.
The Camden Church Studio
The Philadelphia Orchestra concerts of October - December
featured several works which Stokowski and the Orchestra would
also record during that period. These were: Bach - Es ist
vollbracht BWV 245 in the Stokowski orchestration from the
concerts of October 12, 13 1934, three Stokowski arrangements from the
October 24, 1934 Young People's Concert: the Frescobaldi Gagliarda,
the Vivaldi Concerto grosso opus 3 no 11, and the Adoramus te,
Christe attributed to Palestrina. Also from the concerts of
October 26, 27, 1934, Stokowski's arrangement of Handel's Water
Music, and from the concerts of November 2,3,6 1934, the Tchaikovsky
Symphony no 5. Stokowski's orchestration of the Bach - Toccata and Fugue
in d was performed at the concerts of November 23, 24, 27 November
1934 and then recorded, as was Stravinsky's Pastorale and the
Tchaikovsky Nutcracker Suite on December 12, 1934.
During this same October to December 1934 period, Stokowski and the
Philadelphia gave the premier of the Rhapsody on a Theme of
Paganini opus 43 , written during the summer of 1934 in Switzerland
by Serge Rachmaninoff. This premier was given at concerts in
Baltimore and Washington DC November 7 and 8 1934 with the composer
at the piano. Then, at the December 24, 1934 Camden recording
session, Rachmaninoff, Stokowski and the Philadelphia Orchestra made
the famous milestone recording of this new work.
1934 - Rimsky-Korsakov - Schéhérazade opus 35
Leopold Stokowski and the Philadelphia Orchestra continued their 1934 recording
program on October 8, 1934, and with a 'make-up' session on November 12,
1934 recording another Stokowski specialty: 'Schéhérazade' opus 35
by Nicolai Rimsky-Korsakov.
This was recorded in the Camden Church Studio no 2, using a somewhat larger
orchestra than in previous Camden recordings, with 75 musicians (although a concert
performance would likely be about 96 musicians). This recording was
issued in early 1935 in Victor Musical Masterpiece album M-269. The
album contained six 12 inch (30 cm) Victor Red Seal disks 8698, 8699, 8700,
8701, 8702, 8703. In Europe, it was issued on HMV DB 2522, DB 2523,
DB 2524, DB 2525, DB 2526, DB 2527. The matrices were CS 84513,
CS 84514, CS 84515, CS 84516, CS 84517, CS 84518,
CS 84519, CS 84520, CS 84521, CS 84522, CS 84523 and CS 84524.
This is an ethereal and evocative performance, with virtuoso
performances, including the violin solos of Alexander
Hilsberg, and his gifted colleagues, Walter Guetter, bassoon, Marcel Tabuteau,
oboe, William Kincaid, flute, and Arthur Berv, horn. However,
for me, it perhaps lacks the last measure of the magic of the
legendary Stokowski - Philadelphia recording of Schéhérazade made in October
8, 10, and 11, 1927
. Recall also that Stokowski and the Philadelphians
made remarkably successful acoustic recordings of the last two movements
from this work in at the dawn of acoustic orchestral recording. On May 9,
1919, they recorded, '
The Festival at Baghdad
', and on March 25, 1921, '
The Young Prince and Young Princess
'.
This recording was also made in the acoustically dead Camden Church
Studio number 2, rather than in the Academy of Music, Philadelphia,
which was the recording location for the 1927 Schéhérazade. In
the restoration provided in the mp3 links below, Marcos Abreu has opened
up the recording, providing an ambiance that restores 'air' around the
beautiful performances of the Philadelphia musicians. The Camden
Church Studio was designed with acoustic insulation to be acoustically 'dead',
somewhat like the famous (infamous) Studio 8-H of Toscanini recordings.
This reduced reverberation may have aided recording, but it removed much of
the acoustical atmosphere surrounding this great orchestra.
This restoration for me reveals orchestral detail,
particularly of the inner instruments,
which I had not previously heard. The bass of this restoration is
also particularly effective, giving the solid bass structure Stokowski
always sought, without the 'boomy' or muddy bass often found in these
recordings made in the Camden Church Studio. Now, we can concentrate
on enjoying the music, without the distractions which often come from the
intrusions of the defects inherent in these recordings from more than 75
years ago. Thanks Marcos.
(Marcos Abreu is an audio mastering and restoration expert. You can contact
him at Marcos Abreu - Audio mastering and restoration services, email address:
mastering@terra.com.br
If you enjoy the restoration, drop him a note and say 'Thanks Marcos !')
The mp3 restorations provided in the links below are of the four
movements of Schéhérazade. Part 1, starts with the brass (the
sultan) contrasting with the sensuous violin (Schéhérazade) telling
her tale of the sea, and of Sinbad the Sailor. Part 2 tells
the story of the Prince of the Kalenders, who is a royal Prince
disguised as the head of the Kalender dervishes. The music
features the violin solos of Concertmaster Alexander Hilsberg,
and his wonderful colleagues, Walter Guetter, bassoon, Marcel Tabuteau,
oboe, William Kincaid, flute, and Arthur Berv, horn. The
clarinet solo in Part 2 is by Robert McGinnis,
and his performance moves the music in circles, similar to the dances of the
dervishes which the music depicts.
Alexander Hilsberg, Concertmaster, William Kinkaid, flute, Marcel
Tabuteau, oboe, Arthur Berv, horn
In Part 3, Schéhérazade, the violin tells the tale of the love
between the Young Prince and the Young Princess. This
more lyrical movement begins quietly, and builds up to a climax
with cymbal crashes to an emotional conclusion. In
Part 4, Schéhérazade introduces the Festival at Baghdad,
with wild and wilder dancing, accompanied by percussion.
The music then transitions to the further story of Sinbad and the
Sea, introduced by brass, and depicting Sinbad's ship crashing up
onto the rocks. The music then becomes quiet and lyrical, with
Schéhérazade's theme reentering, and the music becoming quiet.
Perhaps the sultan has fallen asleep, as is Schéhérazade's
intention. Click below to enjoy Marcos Abreu's restoration.
Click here to listen to (download) the 1934 Rimsky-Korsakov Schéhérazade - Sea and Vessel of Sinbad
Click here to listen to (download) the 1934 Rimsky-Korsakov Schéhérazade - Tale of the Kalender Prince
Click here to listen to (download) the 1934 Rimsky-Korsakov Schéhérazade - Young Prince and Young Princess
Click here to listen to (download) the 1934 Rimsky-Korsakov Schéhérazade - Festival at Baghdad
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1934 - Dvorak - Symphony no 9 in e minor, opus 95 'From the New World'
Dvorak Symphony no 9 in e minor, opus 95 'From the New World' Only
about 34 musicians were used for this recording in the Camden Church Studio, but
the microphone placement, probably supervised by Stokowski, was particularly
effective in presenting the picture of a larger group. Also, in this
recording, the Victor engineers used the overlapping recording
technique, where the last few seconds of one side are repeated during
the first seconds of the next side. This was done by using
multiple disk cutting machines simultaneously, with the objective of
reducing the disruption to the music of side changes. However, it
also presents added complications in the dubbing and restoration of this
recording (made from both HMV and Victor pressings).
This is a good performance, but for me, perhaps lacking in the transcendental
magic of famous the
1927 recording of the Dvorak 9 which was one of the wonders of
early electrical recording.
This 1934 recoding does have certain advantages. First, although recorded
in the Camden Church Studio the sound is open and pleasing. Also, the
reduced complement of musicians seems to add a precision of attack and ensemble
generally superior to the recorded orchestral standards of the 1920s and 1930.
Symphony orchestras of the US and Europe of that era often lacked the highest
degree of ensemble and precision and beauty of playing. Even the great
German and UK orchestras as we can hear them in their recordings do not
reach the playing standards found today even in regional orchestras.
By this time, the Philadelphia Orchestra under Stokowski had achieved an
admirable level of artistry. Listen for example to the artistry of the
Marcel Tabuteau oboe solo in the second movement --- one of the finest, and most
exposed examples of his distinctive art. Or listen to the woodwinds and strings
in the central portion of movement 3; exhilarating.
This 1934 recording was issued on five 12 inch Victor Red Seal
disks, and in Britain on HMV disks DB 2543, DB 2544, DB 2545, DB 2546, DB 2447,
matrices CS 84525, CS 84526, CS 84541, CS 84542, CS 84543, CS 84544, CS 84545,
CS 84546, CS 84547, CS 84548. Victor presented these in their Musical Masterpiece album
M-273, issued in early 1935.
Click here to listen to (or download) Movement 1 of the 1934 Dvorak Symphony no 9
'From the New World'
Click here to listen to (or download) Movement 2 of the 1934 Dvorak Symphony no 9
'From the New World'
Click here to listen to (or download) Movement 3 of the 1934 Dvorak Symphony no 9
'From the New World'
Click here to listen to (or download) Movement 4 of the 1934 Dvorak Symphony no 9
'From the New World'
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1934 Ippolitov-Ivanov - Caucasian Sketches - In the Manger
On October 22, 1934, Stokowski and the Philadelphia Orchestra recorded another of Stokowski's
specialties: a movement from the Ippolitov-Ivanov - Caucasian Sketches opus
42 no 2 'Berceuse - In the Manger'
Stokowski had regularly championed the music of Mikhail Ippolitov-Ivanov (1859-1935),
performing particularly
music from the Caucasian Sketches, opus 42, including at his public conducting debut
in Paris May 12, 1909, as well as in his London concert one week later. He performed
music from the Caucasian Sketches in every Cincinnati season, and regularly in
Philadelphia. Also, during a trip to the Soviet Union three years previously,
Stokowski had met Mikhail Ippolitov-Ivanov.
Mikhail Ippolitov-Ivanov (1859-1935), Stokowski, Reinhold Glière (1875-1956) during
Stokowski's first visit to the Soviet Union in 1931
Although the music of Ippolitov-Ivanov, including the Caucasian Sketches, is not frequently
performed today, as in all great interpretations, Stokowski shows the music of the
Caucasian Sketches to be inspired and able to move the listener, the ultimate test
of the music and the performance.
[Note: awaiting better sources for this recording before uploading it.]
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1934 Bach - "Es ist vollbracht" from the St. John's Passion BWV 245
Following the Dvorak and Ippolitov-Ivanov recordings on October 22, 1934,
Stokowski and the orchestra turned to Bach, orchestrated by Stokowski.
This was his orchestration of Es ist Vollbracht !, aria number 58
(or movement 30) from Bach's St. John's Passion BWV 245, in
a Stokowski orchestration. Bach's original score was for a (boy) Alto singer,
accompanied by viola da gamba, plus two violins, a viola, and continuo, of course
far less than the full strings and winds used by Stokowski. This original
text can be heard in a wonderful 1950 performance by Peter Schreier, then only 14,
and before his successful professional career, with Anton Spieler, cello and Hans Otto,
organ continuo and conductor Rudolf Mauersberger.
Peter Schreier - boy alto
Click on the link below to
hear the beauty
of Bach's music which inspired Stokowski's arrangement and orchestration.
Click here to listen to (or download) the Peter Schreier singing Bach's 'Es ist Vollbracht'
The text 'Es its Vollbracht' - 'It is accomplished', Christ's last words on
the cross, begins with quiet and meditative music reflecting on the Passion of
Christ, but then transitions to an allegro, celebrating and affirming that death is
vanquished. This aria, with its celebration allegro interruption
('Der Held aus Juda'), and its quiet ending is one
of Bach's most sublime works. Stokowski has captured the spirit of this music,
except perhaps the first theme of 'Es ist Vollbracht', in which Stokowski's performance
has given Bach's thought-filled music a reading perhaps stronger in sentiment than
in contemplation. In a June, 1936 review, the Gramophone Magazine gave a
favorable review of this recording, speaking of the music, and ending with the
observation: '...There cannot, I think, be anyone to object to such a transcription,
making yet another beautiful record of Bach at his finest...' 3
Listen to the beautiful duet solos of Marcel Tabuteau, oboe, Walter Guetter,
bassoon, and Robert Bloom, English horn.
Robert Bloom (1908-1994), a oboe and English horn student of Marcel Tabuteau at the Curtis
Institute, was English horn of the Philadelphia
Orchestra 1930-1936 and later, Principal oboe of Arturo Toscanini's NBC
Symphony Orchestra.
This Bach recording was issued by Victor on two sides of a 10 inch Red Seal disk, Victor 8764
matrix BS 84553-1 and BS 84554-1, both being the first takes of each side.
Click here to listen to (or download) the 1934 Stokowski orchestration "Es ist vollbracht" BWV 245
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1934 Girolamo Frescobaldi orchestrated by Stokowski - Gagliarda
The Italian composer of the late Renaissance, Girolamo Frescobaldi lived from 1583
to 1643. His genre was keyboard music and particularly harpsichord music.
He published several volumes of his compositions, of which the second was
entitled Il secondo libro di toccate, canzone, versi d'hinni, Magnificat,
gagliarde, correnti et altre partite d'intavolatura di cembalo et
organo. The "gagliarde" was the piece orchestrated by
Stokowski and recorded with the title "Gagliarda",
Girolamo Frescobaldi (1583-1643)
During the October 22, 1934 recording session, Stokowski and the Philadelphia
Orchestra recorded this piece on a 10 inch (25 cm) Victor Red Seal
disc Victor 1985 matrix BS 84555-1. In Europe, EMI published this
recording on HMV disc DA 1606, coupled with the Adoramus te, Christe
attributed to Palestrina.
Click here to listen to (or download) the 1934 Frescobaldi Gagliarda
orchestrated by Stokowski
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1934 Tchaikovsky - Symphony no 5 in e minor opus 64
On November 12, 1934, Stokowski and the Philadelphia Orchestra began an
intensive day of recording, including 7 different works. This
recording session began with Stokowski's interpretation of the
Tchaikovsky Symphony no 5 in e minor, opus 64.
There is beautiful bassoon playing by Walter Guetter in his brief contribution
to the second movement of this Tchaikovsky Symphony no 5. Stokowski makes
cuts in the finale of the fourth movement, as was his habit. However, this
is a performance mostly free of the mannerisms and speeding up and slowing that
sometimes detracted from Stokowski's performances of Tchaikovsky late symphonies.
This recording was issued in the Victor Musical Masterpiece album M-253,
containing six disks, 8589, 8590, 8591, 8592, 8593, 8594. Matrices
were CS 84558, CS 84559, CS 84560, CS 84561, CS 84562, CS 84563,
CS 84564, CS 84565, CS 84566, CS 84567, CS 84568, CS 84569.
Click here to listen to (download) the 1934 Tchaikovsky Symphony no 5 movement 1
Click here to listen to (download) the 1934 Tchaikovsky Symphony no 5 movement 2
Click here to listen to (download) the 1934 Tchaikovsky Symphony no 5 movement 3
Click here to listen to (download) the 1934 Tchaikovsky Symphony no 5 movement 4
1934 - Vivaldi - L'estro armonico - Concerto grosso opus 3 no 11 in d minor RV 565
On November 12, 1934 Stokowski recorded his re-orchestration of the Concerto grosso
no 11 from the opus 3 L'estro armonico by Vivaldi.
Click
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1934 - George Frederick Handel - Suite from the 'Water Music'
Also during this intensive November 12, 1934 recording session in Camden, Stokowski and the
Philadelphia Orchestra recorded music by George Frederick Handel. This was of the
Suite from the Handel 'Water Music', first performed on the Thames river in 1717 as a
concert for Handel's patron, King George I.
Handel at about the time of the 'Water Music'
This Suite seems to have been based on the version by Sir Hamilton Harty,
but further changed by Stokowski. The movements selected for this Suite are
marked: 1. allegro, 2. air, 3. bourrée, 4. hornpipe, 5. andante espressivo,
6. allegro deciso.
This performance has some of the negative aspects (in my opinion) of
Stokowski's 1930's performances of baroque music. This is not
simply a reaction to the lack of what we currently regard as "correct"
baroque performance practices, tuning, original instruments, and other practices
now favored. Rather, the performance has a tendency toward a heaviness that
contradicts the music's festive purpose and bubbling nature. The strings swoop,
and the rhythm rises and falls. However, there is also some animated playing
and the virtuosity of the Philadelphia Orchestra never fails to
give pleasure. Also, the performance is more to current tastes than,
for example
Stokowski's reading of the Bach Brandenburg Concerto no 2
.
Stokowski in Baroque music sometimes seems not to accept a
simple ending as written, which is no exception here. The ending of the final
allegro in this performance is transformed towards
a sort of Technicolor apotheosis. I believe
Hamilton Harty did this well in his recordings, although of course we should
not expect what has become our idea of 'correct' performing practice either in
the Harty or Stokowski performances of that era. Stokowski later, beginning
in about the 1960s demonstrated not only that he continued to innovate and experiment,
but that his performance style for the baroque would become at least the equal of
leading conductors of the 1960s and 1970s in this music.
You can evaluate and judge for yourself by clicking on the music links below.
This recording was issued on two 12 inch Victor Red Seal disks 8550, 8551,
matrices CS 84574-1, CS 84575-1, CS 84576-1, CS 84577-1, all first takes.
In Europe, it was issued by EMI as HMV DB 2528 and DB 2529.
Click here to listen to (download) the 1934 - Water Music Suite part 1 (large file)
Click here to listen to (download) the 1934 - Water Music Suite part 2 (large file)
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1934 - Palestrina - 'Adoramus te, Christe' (Stokowski orchestration)
On this busy recording day of November 12, 1934 in the Camden Church Studio, Stokowski
and the Philadelphia Orchestra recorded his orchestration and adaptation of 'Adoramus
te, Christe', which has been attributed to Giovanni Pierluigi da Palestrina (1525 or
1526-1594). This is a motet in four voices, which Stokowski likely performed on
the organ.
Palestrina (1525 or 1526-1594)
In his interesting book The Mystery of Leopold Stokowski, William Ander
Smith writes:
'...I have been asked if others did not orchestrate the pieces such as
the Frescobaldi or Palestrina...' 2.
Smith identifies Stokowski as the orchestrator
of these two pieces, confirmed by the Stokowski score collection. Some have
suggested Fritz Stein (1879-1961), a musicologist, and colleague and biographer of
Max Reger (1873-1916) who did orchestrate some baroque works, including Gabrieli's
Sonata pian e forte from the 'Sacrae symphoniae', which Stokowski recorded.
Fritz Stein was also the discoverer of the manuscript of the so-called 'Jena
Symphony', once thought to be a work by Beethoven. H. C. Robbins Landon later
demonstrated that the 'Jena Symphony' was by Friedrich Witt (1770-1837).
However, the Frescobaldi and Palestrina orchestrations were by Stokowski.
This orchestration of 'Adormaus te' was issued on a Victor 10 inch (25 cm) disk, matrix
BS 84578-1, in two versions. It was on Victor 11-8576 in M-963 with Bach or
In Europe, HMV issued the recording on DA 1606, coupled with the Frescobaldi Gagliarda.
The recording was also issued in the 1940s as a filler of a 12 inch (30 cm) Victor Red Seal
disk 15206 B, coupled with the final side of Stokowski's 'Symphonic Synthesis' of Tristan
und Isolde - Acts 2, 3 (disk 15206 A) contained in Musical Materpiece album M-508.
Click here to listen to (download) the 1934 Palestrina - 'Adoramus te, Christe'
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1934 Brahms Serenade no 1 - Minuetto
Victor 1675 matrix BS 82129-1
Stokowski and the Philadelphia Orchestra recorded
the fourth movement, marked 'Minuetto' of the Brahms Serenade no 1. This was
recorded in the Camden Church Studio on November 12, 1934. Only about 40
musicians were used.
Click here to listen to (or download) the 1934 Brahms Serenade no 1 - mvmt 4 - Minuet
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1934 - Etanraku - Japanese Ceremonial Prelude
Prepared by Prince Hidemaro Konoye (1898-1973)
Prince Hidemaro Konoye 1898-1973
In the November 12, 1934 recording session, Stokowski and the Philadelphia Orchestra
recorded music prepared by Prince Hidemaro Konoye (1898-1973). This was called
Etanraku - Japanese Ceremonial Prelude for this recording. Prince Konoye was
a creative and innovative spirit, who achieved a number of innovations in recording and
in the development of music. Hidemaro Konoye made the first full recording of the
Mozart Sinfonia Concertante in E flat major K297b, and recorded it in 1937, with no less
a group than the Berlin Philharmonic.
The interesting music site by Braveheart wrote of Prince Konoye:
"...Konoye was one and
great conductor in the first age of Japanese Classical Music world. He founded
the 'New Symphony Orchestra of Tokyo' - later the NHK Symphony Orchestra, today,
He recorded the first recording of Mahler's 4th Symphony in May, 1930 in Japan.
He created friendship to Erich Kleiber, Leopold Stokowski and many other famous conductors
in Europe and USA. [In} The early days of NBC Symphony, he get chair of conductors
with Artur Rodzinski and Charles Munch. He planned US tour which was supervised
by Stokowski, but due to begun of World War 2, his plan was missed. He went
to Germany and conducted Berlin Philharmonic Orchestra in second half
of 1930s. He died in 1972. 1 "
Click here to listen to (or download) the 1934 Japanese Ceremonial Prelude by Prince Hidemaro Konoye
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1934 - Tchaikovsky - Nutcracker Suite opus 71a
In November 1926, Stokowski and the Philadelphia Orchestra recorded a
beautiful performance of the Suite from Tchaikovsky's ballet The
Nutcracker, one of the earliest totally successful electrical
recordings of a full symphony orchestra. This album, the
1926 Victor Musical Masterpiece M-3
was a best-selling album for a number of years. In 1934, Victor decided
to replace this album with a new recording, which was accomplished on November 26, 1934,
almost exactly 8 years after the November 10, 1926 recording of the Nutcracker Suite.
This recording was made in the Camden Church Studio no 2, and in spite of not benefitting
from the superior acoustics of the Philadelphia Academy of Music has good sound.
As with many of the 1930s re-recordings of the music Stokowski had recorded 1926-1929,
this 1934 Nutcracker in some ways lacks, perhaps the final level of magic of the great
1926 performance. However, the sound is superior, and it may be that the precision
and ensemble of the orchestra is yet better than in the 1926 recording. It is a fine
and satisfying performance. The critic David Hall, writing in 1942 still found this
1934 Nutcracker Suite to be the finest of the available recordings: "...Stokowski's
is still the best version of this popular and still delightful ballet music..."
4. Writing in April 1940 reviewing available recordings, the Gramophone
concluded: "...Probably Stokowski's full-dress recording holds the field here..."
5. In a later Gramophone review of the many Stokowski recordings in
the April 1946 issue wrote of this recording: "...His recording of the Nutcracker Suite,
one of the all-time best sellers of the Victor catalogue, is a fine example of Stokowski
in his more contained and literal moments..." 6.
This Nutcracker Suite recording was issued on three Victor Red Seal 12 inch
(30 cm) disks 8862, 8863, 8864,in Victor Musical Masterpiece album M-265. This recording
was issued in Europe on HMV DB 2540, DB 2541, and DB 2542. (I have used both
Victor and HMV pressings). Matrices are CS 87000-1, CS 87001-2B,
CS 87002-5, CS 87003-1, CS 87004-1, CS 87005-1 .
Click here to listen to (or download) the 1934 Tchaikovsky - parts 1, 2: Miniature Overture,
March
Click here to listen to (or download) the 1934 Tchaikovsky parts 3, 4: Sugar-Plum Fairy, Trepak
Click here to listen to (or download) the 1934 Tchaikovsky parts 5, 6, 7: Arab, Chinese, Flutes Dances
Click here to listen to (or download) the 1934 Tchaikovsky part 8: Waltz of Flowers
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1934 - Rachmaninoff - Rhapsody on a Theme of Paganini
Christmas eve, 1934 was a busy day for Victor, Stokowski and the
Philadelphia orchestra in the Camden Church Studio no 2. They
recorded two concerti: the Rachmaninoff Rhapsody on a Theme of Paganini
and the Sibelius Violin Concerto. Both the Rachmaninoff with
Rachmaninoff at the piano and the Sibelius with Heifetz as soloist were
from the first take of each 78 RPM side.
The Rachmaninoff Rhapsody on a Theme of Paganini was composed in
Rachmaninoff's summer home in Switzerland in the summer of 1934.
Stokowski, the Philadelphia Orchestra and Rachmaninoff premiered the
work in Baltimore, Maryland at the Lyric Opera House on
November 7, 1934. So, this recording, made on Christmas Eve, 1934 was only
months following the premiere.
Although Rachmaninoff was clearly a renowned composer, as well as piano
virtuoso, this Rhapsody on a Theme of Paganini seems to have had the
effect to remind the public that Rachmaninoff was first of all a gifted
composer, and second, a re-creative artist.
What more can be said about this great and legendary recording?. It is one
of the landmarks of recording history, and further immortalizes
this great composer and performer.
And Stokowski and the Philadelphia Orchestra are fully the equals to
Rachmaninoff in their contribution to this landmark recording.
Since it was issued in 1935, this recording has never been out of the catalogue.
It has been made available in virtually every recording format since its
issue on 78RPM disks (including on 8-track tape!). Modern restorations
include Ward Marston's superb artistry in the award-winning 1992 RCA/BMG
Rachmaninoff Edition (for which he was not given sufficient credit at the
time), and more recently by Mark Obert-Thorn on Naxos (Naxos 8.110602); both
highly recommended.
This recording was made in the Camden Church Studio number 2 with 70
musicians of the Philadelphia Orchestra, and issued on three Victor Red
Seal 12 inch disks, Victor 8553, 8554, 8555 with matrix numbers CS 87066-1,
CS 87067-1, CS 87068-1, CS 87069-1, CS 87070-1, CS 87071-1, all in album
M-250.
Click here to listen to (or download) the 1934 Rhapsody on a Theme of Paganini - Part 1
Click here to listen to (or download) the 1934 Rhapsody on a Theme of Paganini - Part 2
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The Famous Heifetz - Stokowski Sibelius Violin Concerto Recording
Also on Christmas eve December 24, 1934 Stokowski and the Philadelphia Orchestra
made another famous recording. However, it was one not released by Victor,
and never heard except withing the last decade. This was the recording of the
Sibelius Violin Concerto in D minor, opus 47 of 1904 with Jascha Heifetz.
The recording, although a fiery performance by both Heifetz and Stokowski was
not released until a single copy was used in the 1999
Philadelphia Orchestra, The Centennial Collection CD
release, overseen by Mark Obert-Thorn, with musical restoration
by Ward Marston.
In his program notes to this recording, Barrymore Laurence Scherer wrote "...According to Ward
Marston, who learned of this from a member of the Orchestra who played in the session, Heifetz at one
point asked Stokowski to have the violins play more softly in a particular passage in order to lend greater
definition to the solo line. Stokowski - who loved manipulating the knops of a recording console almost
as much as conducting itself - felt this request an intrusion upon his prerogative to balance the sound.
Therefore, in a gesture rather foreign to the Christmas spirit, he addressed the Orchestra saying
'Everyone else, play louder. Violins, you stay the same.' Understandably, Heifetz was not amused,
and he subsequently refused to approve the finished recording for release."4
Stokowski's track record with star soloists was sometimes a test of competing artistic wills!
Jascha Heifetz in a well-known 1935 Alfred Eisenstaedt photograph
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1 'Braveheart' music site. Mozart: Sinfonia
concertante KV 297b Published by braveheart@bh2000.net.
1998-2003.
http://www.bh2000.net/special/patzak/detail.php?id=54
2 page 102. Smith, William Ander.
The Mystery of Leopold Stokowski Fairleigh Dickinson
University Press. New Jersey 1990 ISBN-13: 978-0838633625
3 page 18. Philadelphia Orchestra, Stokowski: Es ist vollbracht
(Bach). HMV DB2762 (12 inch, 6 sides).. Gramophone
Magazine. London. June, 1936.
4 page 68. Hall, David. The Record Book.
Smith & Durrell. New York. 1942.
Smith & Durrell. New York. 1942.
5 page 18. Nutcracker Suite (Tchaikovsky). Gramophone
Magazine. London. April, 1940.
Smith & Durrell. New York. 1942.
6 page 11. Pastene, Jerome. Leopold Stokowski.
Gramophone Magazine. London. April, 1946.
If you have any comments or questions about this
Leopold Stokowski site, please e-mail me (Larry
Huffman) at e-mail address:
leopold.stokowski@gmail.com
L'Héritage de Stokowski - Accueil français
Victor Talking Machine Company, Eldridge Johnson, et le développement
de la technologie d'enregistrement acoustique
1917 - 1924 les enregistrements acoustique Victor de Leopold
Stokowski et l'Orchestre de Philadelphie
1917 - Premiers enregistrements acoustique de Stokowski -
Orchestre de Philadelphie
1917 - 1919 autres enregistrements acoustique Stokowski - Orchestre
de Philadelphie
1920 - 1921 autres enregistrements acoustique Stokowski - Orchestre
de Philadelphie
1922 - 1924 autres enregistrements acoustique Stokowski - Orchestre
de Philadelphie
1919 - 1924 enregistrements acoustique Russe Stokowski -
Orchestre de Philadelphie
1920 - 1924 enregistrements acoustique français - Stokowski
- Orchestre de Philadelphie
1921 -1924 enregistrements acoustique Tchaïkovski - Stokowski - Orchestre
de Philadelphie
1921 - 1924 enregistrements acoustique Wagner - Stokowski -
Orchestre de Philadelphie
1924 enregistrements acoustique Rachmaninov - Stokowski - Orchestre
de Philadelphie
Développement de l'enregistrement électrique
Permis d'exploitation du système Westrex donné à Victor et Columbia
1925 Premier enregistrement électrique Stokowski - Orchestre
de Philadelphie
1925 autres enregistrements électriques Stokowski - Orchestre de Philadelphie
1926 enregistrements électriques Stokowski - Orchestre de
Philadelphie
1927 enregistrements électriques Stokowski - Orchestre de
Philadelphie
Encore des enregistrements 1927 électriques Stokowski -
Orchestre de Philadelphie
1928 enregistrements électriques Stokowski - Orchestre de
Philadelphie
1929 enregistrements électriques Stokowski - Orchestre de
Philadelphie
1930 enregistrements électriques Stokowski - Orchestre de
Philadelphie
1931 enregistrements électriques Stokowski - Orchestre de
Philadelphie
1932 enregistrements électriques Stokowski - Orchestre de
Philadelphie
1933 enregistrements électriques Stokowski - Orchestre de
Philadelphie
1934 enregistrements électriques Stokowski - Orchestre de
Philadelphie
Encore des enregistrements 1934 électriques Stokowski - Orchestre de
Philadelphie
1935 enregistrements électriques Stokowski - Orchestre de
Philadelphie
1936 enregistrements électriques Stokowski - Orchestre de
Philadelphie
1937 enregistrements électriques Stokowski - Orchestre de
Philadelphie
1939-1940 enregistrements électriques Stokowski - Orchestre de
Philadelphie
