Stokowski and the Philadelphia Orchestra Recording, in the Academy of Music,
probably in late 1936. Note the microphone suspended from wires.
It appears to include the famous Western Electric 394
condenser microphone invented by Edward C. Wente of Bell Laboratories.
Leopold Stokowski - Philadelphia Orchestra Chronological Discography
Electrical Recordings
This is a chronological listing of the recordings Stokowski made with the
Philadelphia Orchestra during his period as Principal or Co-conductor from
1925 to 1940. This discography is based on the comprehensive, award-winning
investigations by John R. Bolig, which he has generously shared.
Mr. Bolig was awarded the Association for
Recorded Sound Collections 2015 Certificate of Merit for his book:
The Victor Discography: Special Labels, 1928–1941 published by
Mainspring Press 6. John R Bolig has also published award-winning
discographies of Victor Red Seal and Victor Black Seal recordings.
John R. Bolig Victor discographies - Mainspring Press
Another fine source for all Philadelphia Orchestra recordings is the thorough and carefully researched
discography by Richard A. Kaplan: The Philadelphia Orchestra: An Annotated Discography published
in 2015 4. (Those interested should buy these important studies now, before they become
unavailable.)
Richard A. Kaplan The Philadelphia Orchestra: An Annotated Discography
All recordings listed here are Victor Red Seal
recordings of the Philadelphia Orchestra conducted by Leopold Stokowski.
Also included are those experimental recordings of the orchestra made by
Bell Laboratories in 1931 and 1932 and restored by Ward Marston for AT&T and
issued in 1980. You can read about these Bell Telephone recordings by
clicking on
Leopold Stokowski, Dr. Harvey Fletcher and the Bell Laboratories
Experimental Recordings. Also not included are the 1939
recordings the Philadelphia Orchestra did for Walt Disney"s film
Fantasia.
Other Stokowski Discographies 1917-1924 and 1941-1977:
You may also see other discographies of Leopold Stokowski's extensive recording career
by clicking the links below:
Victor Long Play 33 1/3 RPM 'Program Transcription' Recordings of the 1930s:
In September, 1931, RCA Victor introduced a series on 12 inch (30 cm) discs recorded at
33 1/3 RPM that they named Program Transcription records.
These records were able to contain up to 15 minutes of recording on each side on
special equipment, but the experiment was not a commercial success and was phased our
beginning in late 1934. To read more of these 'Program Transcription' recordings
and consult a discography, please click on
Victor Program Transcription Long Playing Records
.
Links in the Table: at the right are two links: "Page" and
"MP3". Clicking "Page" will take you to the page in this www.stokowski.org site which
discusses the recording. Clicking on MP3 will cause an MP3 version of the recording
to download to your computer.
Of course, when you click on the word "MP3" to download the music, it will
take a longer time to download the large files, and a shorter time for the
smaller files. The exact time will depend on the speed of your internet
connection, but may take several seconds or even several minutes.
At the time of writing, not all music has been transcribed from 78 RPM disks
and encoded in mp3 files. If there is no link "MP3" shown, this means
there is not yet a music file available.
Automatic Changer Albums:
In 1927, Victor introduced automatic record changers beginning with the
Victrola VE 10-50. Records slide off the turntable with these Victrolas.
For these machines, Victor introduced new albums with record
sides sequenced to allow continuous play of records - these are the
AM series of Musical Masterpiece albums. In about 1939 Victor introduced the
drop automatic record changers (records would drop onto the turntable).
These used the DM series of Musical Masterpiece albums.
The table below lists both catalogue numbers and their Victor Red Seal
disc numbers for both manual and automatic albums.
Read about the history of these automatic albums by clicking on
Victor Automatic Record Changer Albums
A Note on HMV Serial Numbers and Matrix Numbers
In the listings below, for HMV issues, as well as the usual Catalogue Number and Matrix Number (when
known), a third number also is listed. This is the Serial Number. Between 1924-1934, in addition to
the usual Matrix Number and Catalogue Number, HMV assigned a third number to their records:
the Serial Number. During these years, both the Catalogue Number and the Serial Number (circled)
were printed on the record labels as shown below:
This Serial Number appeared on the HMV DA (10 inch) and DB (12 inch) series records
as well as certain other series labels, and is listed in the discography below.
The Matrix Number was pressed into the run-out groove of the record during pressing.
Leopold Stokowski - Philadelphia Orchestra Chronological Discography 1925-1940
despite altered orchestration influenced by acoustic recording practices,
a beautifully-sounding recording not possible just one year prior, used
for demonstrations in record shops
Symphony no 9 in e minor opus 95 "From the New World"
the 1925 "New World" symphony was issued still using the older acoustic 'Bat Wing' record label.
This recording was also issued in 1926 as the first of the legendary Victor Musical Masterpiece
album series: M-1
Victor 6565 through 6569 (later in an album named M-1)
Confusingly, these same 1925 catalogue numbers were used for the 1927 "New World" symphony
recording. Also, this same 1925 matrix number series was also assigned to the October 1927
re-recording of the Dvorak Symphony no 9, but with different take numbers.
also the largo movement CVE-33291-6 and CVE 33292-3 were issued as Victor Pict-Ur-Music
discs 01543, 01544 theater music for silent movies
also Victor Pict-Ur-Music disc 01548 of CVE 22825-7 theater music for silent movies
Mark Obert-Thorn has made a fine restorations these recordings for
Pristine Classical on PASC500.
matrix CVE 22825-6, later CVE 22825-7 (Danube), CVE 35182-3 (Woods)
Beautifully recorded in the Academy of Music, these might perhaps be claimed the
first totally satisfying reproductions of a full symphony orchestra since the invention
of recoding by Edison 50 years earlier.
Tchaikovsky: The Nutcracker: In 1931, Victor also dubbed this recording onto
a Victor 33 1/3 RPM 12 inch (30 cm) double sided long play "Program Transcription"
recording Victor L-7004 for Victor's new long-playing commercial introduction
- eventually unsuccessful.
Victor L-7004 side A 33 1/3 RPM matrix LCVE-69730-2 contained dubbed 78 RPM matrices
CVE 36655-4, CVE 36656-4, CVE 36657-2 and Victor L-7004 side A 33 1/3 RPM matrix
LCVE-69764-1 contained dubbed 78 RPM matrices CVE 36669-1, CVE 36670-4, CVE 36671-2.
November 18, 1926
March 10, 1927
Academy of Music, Philadelphia, USA
Franz Liszt
Hungarian Rhapsody no 2 C# minor (1847)
German Electrola EJ 187
Victor 6652
Victor 6645 A, 6646 A coupled with 1926 Rienzi Overture in Victor album A-5
also Victor Pict-Ur-Music disc 01528 theater music for silent movies
a Victor demonstration disc given to stores to show off the new Westrex Electrical Recording
Process. The horns and full bass of this recording (plus fine performance) made it a
good demonstration disc
Victor Japan NF-4003 in album JAS 13 (Victor Company of Japan)
Victor Japan HL-3 (Victor Company of Japan)
Victor Japan JE-157 (Victor Company of Japan)
In 1924, Japan placed a 100% luxury tax on imported phonographs and records 10.
This caused Victor to create in 1927 the Victor Company of Japan, Ltd. Yokohama with an
initial capital of $1 million equivalent. (Japan was Victor territory as agreed 25 June 1907
with the Gramophone Company Ltd. 10)
Bizet: Carmen: In 1931 these March 10, 1927 Carmen excerpts, plus the April 30
and May 2, 1927 Carmen recordings were dubbed onto L-1000, a Victor 33 1/3 RPM 10 inch (25 cm)
double sided long play "Program Transcription" disc, one of the first releases
in the Victor long-playing record programme - eventually unsuccessful.
Victor L-1000 side A matrix LBVE-69-165-1 contained 78 RPM matrix BVE 22812-5 (Prelude) and
CVE-27903-2 (Changing of the Guard) and CVE-37498-1 (Gypsy Dance). Victor L-1000 side B
matrix LBVE-69166-1 contained 78 RPM matrices CVE-37494-2 (intermezzo), CVE-27902-2
(Smugglers) and concluded with BVE-38211-1 (Habanera).
March 10, 1927
Academy of Music, Philadelphia, USA
Claude Debussy
"Prélude à l'après-midi d'un faune"
flute solo played by William Kinkaid
(Stokowski transcription)
HMV D 1768
Victor 6696
also Victor Pict-Ur-Music discs 01531, 01532 theater music for silent movies
not issued. This first trial recording of Le Sacre du Printemps was followed
two years later by the successful recordings of 24 September 1929 and 12 March 1930.
matrices CVE-37471-1, CVE-37472-1, CVE-37473-1
Mark Obert-Thorn has made a fine restoration these unpublished matrices for
Pristine Classical on PASC496.
Brahms: Symphony no 1: In 1933, Victor also dubbed this symphony onto
three Victor 33 1/3 RPM 12 inch (30 cm) double sided
long play "Program Transcription" discs Victor L-11647 through L-11649 in album
LM-15 for Victor's long-playing record programme - eventually unsuccessful.
Victor L-11647 side A matrix LCS-76273-1 contained dubbed 78 RPM CVE 37483-2,
CVE 37484-2 and side B matrix LCS-76274-1 contained dubbed 78 RPM CVE 37485-2,
CVE 37486-1. Victor L-11648 side A matrix LCS-76275-2 contained dubbed 78 RPM
CVE 37487-2, CVE 37488-2, and side B matrix LCS-76276-1 contained dubbed 78 RPM
CVE 37489-1, CVE 37490-2. Victor L-11649 side A matrix LCS-76277-1 contained
dubbed 78 RPM CVE 37491-1, CVE 37492-2 with the final 33 1/3 RPM side blank.
April 28, 1927
April 30, 1927
Academy of Music, Philadelphia, USA
Franz Schubert
Symphony no 8 in b minor "Unfinished"
the 1931 "Program Transcription" 33 1/3 dub of the 1927 "Unfinished"
Electrola Germany EJ 710 serial number 5-0620
Victor 6663, 6664, 6665 in album M-16
Victor 6663, 6664, 6665 in album M-16
Victor 16760, 16761, 16762 in album DM-16
matrices CVE 29052-6, CVE 29053-6, CVE 29054-6, CVE 29055-6, CVE 29056-7,
CVE 29057-7 (in 1939 matrix CVE 29052-6 was redubbed to CVE 29052-1R)
Mark Obert-Thorn has made a fine restoration this recording for
Pristine Classical on PASC483.
HMV:
DB 7, DB 8, DB 9 - the creation by HMV in 1924 of the DA (10 inch) and DB (12 inch) series
double-sided discs created a new Celebrity artist series which continued until
the LP era in the 1950s. 9
D 7375, D7376, D 7377
D 1779 through D 1781
AB 609, AB 610, AB611 (Spain)
EJ 710, EJ 711, EJ 712 (Electrola Germany)
ED 530 through ED 532 (Australia)
ES 702 through ES 704 (Austria)
W 1128, W 1129, W 1130 (Gramophone France)
serial nos. 5-0620 through 5-0625
Victor Japan JD-1531 through JD-1533 in album JAS 748
Schubert: Symphony no 8: In 1933, Victor also dubbed this symphony
onto two Victor 33 1/3 RPM 12 inch (30 cm) double sided
long play "Program Transcription" discs Victor L-11645 and Victor L-11646
for Victor's long-playing record programme - eventually unsuccessful.
Victor L-11645 side A matrix LCS-75661-3 contained dubbed 78 RPM CVE 29052-6, CVE 29053-6,
CVE 29054-6 and side B matrix LCS-75662-4 contained dubbed 78 RPM CVE 29054-6.
Victor L-11646 side A LCS-75663-2 matrix contained dubbed 78 RPM CVE 29055-6, CVE 29056-7,
CVE 29057-7 with the final 33 1/3 side blank. These sides were also issued by
Victor in an automatic changer sequence on 33 1/3 "Program
Transcription" discs L-11645 and L-11646 with side B blank.
April 30, 1927
Camden Church Studio, Camden, NJ USA
Ludwig van Beethoven
Symphony no 7 in A major, opus 92 - Outline of Themes
Stokowski described key themes also playing the piano
Victor 6669
matrix CVE 38605-2
included in album M-17
note: on 20 October 1927, Victor recorded a Spanish version of Stokowski’s talk
by José Tablada (1871-1945) with Rosario Bourdon piano on single-sided Victor 6749,
matrix number CVE-40417-4
not issued by HMV although serial no. number assigned
Symphony no 1 in c minor opus 68 - Outline of Themes
Stokowski described key themes also playing the piano
Victor 6657
matrix CVE 38606-1
included in album M-15
note: on 20 October 1927, Victor recorded a Spanish version of Stokowski’s talk
by José Tablada (1871-1945) with Rosario Bourdon piano on single-sided Victor 6748,
matrix number CVE-40420-2
not issued by HMV although serial no. number assigned
Victor Japan ND-59, ND-60 in album JAS 13 (Victor Company of Japan)
in 1927 Victor Talking Machine Company built a new record manufacturing
plant which used Camden masters to produce discs for the South American market,
creating Victor Talking Machine Co. Sucursal Argentina (S.A.I.C.), Buenos Aires.
Bizet: Carmen excerpts: In August 1931 for the launch of its (eventually unsuccessful)
"Program Transcription" discs, Victor dubbed excerpts from Carmen originally recorded
March 10, April 30, May 2, 1927 onto a Victor L-1000
double sided 10 inch (25 cm) 33 1/3 RPM disc. The Victor L-1000 side A 33 1/3 matrix LBVE-69-165-1
contained 78 RPM matrices BVE 22812-5 (Prelude) with CVE-27903-2 (Changing of the Guard) and CVE-37498-1
(Gypsy Dance). The Victor L-1000 side B 33 1/3 RPM matrix LBVE-69166-1 contained 78 RPM matrices
CVE-37494-2 (intermezzo), CVE-27902-2 (Smugglers) and concluded with BVE-38211-1 (Habanera).
May 2, 1927
Academy of Music, Philadelphia, USA
Carl Maria von Weber
Invitation to the Dance opus 65
orchestrated by Hector Berlioz and Stokowski
Victor ND-89 (Victor Company of Japan)
Victor 6643
also Victor Pict-Ur-Music disc 01549 theater music for silent movies
matrices CVE 37495-1, CVE 37496-2
also issued by Victor Argentina
Mark Obert-Thorn has made a fine restoration this recording for
Pristine Classical on PASC500.
Franck: Symphony in D minor: In 1933, Victor also dubbed this recording onto three
Victor 33 1/3 RPM 12 inch (30 cm)
double sided long play "Program Transcription" discs Victor L-11650,
Victor L-11651 and Victor L-11652 for Victor's long-playing record
programme - eventually unsuccessful.
Victor L-11650 33 1/3 side A matrix LCS-76268-2 contained dubbed 78 RPM CVE 34730-3,
CVE 34731-4. Side B matrix LCS-76274-1 contained dubbed 78 RPM CVE 34732-3,
CVE 34733-3. Victor L-11651 side A matrix LCS-76270-1 contained dubbed 39340-2, CVE 39341-1
and side B matrix LCS-76271-1 contained dubbed 78 RPM CVE 39342-1, CVE 39343-1.
Victor L-11652 33 1/3 side A matrix LCS-76272-1 contained dubbed 78 RPM CVE 39344-1,
CVE 39345-1 with the final 33 1/3 side being blank.
It was also issued on three Victor "Program Transcription" discs in
automatic changer sequence L-11723 through L-11725 with side B blank.
October 5, 8, 1927
Academy of Music, Philadelphia, USA
Antonin Dvorak
Symphony no 9 in e minor opus 95 "From the New World"
Victor Musical Masterpiece album M-1
Victor 6565, 6566, 6567, 6568, 6569 in album M-1
Victor 6792, 6793, 6794, 6795, 6796, 6797, 6798, 6799, 6800, 6801 in automatic sequence
A-8 coupled with 1927 Franck Symphony
Symphony in D minor - Stokowski Analysis of the major themes
Arthur Rodzinski piano accompaniment
Victor 6725 in M-22
matrix CVE 40400-2
note: on 20 October 1927, Victor recorded a Spanish version of Stokowski’s talk
by José Tablada (1871-1945) with Rosario Bourdon piano on single-sided Victor 6747,
matrix number CVE-40419-2
Symphony no 9 - Stokowski Analysis of the major themes
Arthur Rodzinski piano accompaniment
Victor 6743
matrix CVE 40401-2
note: on 20 October 1927, Victor recorded a Spanish version of Stokowski’s talk
by José Tablada (1871-1945) with Rosario Bourdon piano on single-sided Victor 6750,
matrix number CVE-40418-1
This first electrical recording of Schéhérazade was one of the great recordings
of the work during the twentieth century. The violin solos of Mischa Mischakoff
and the virtuoso strings of the Philadelphia Orchestra demonstrate the
stature the orchestra had achieved under Stokowski.
Victor 6738, 6739, 6740, 6741, 6742 in album M-23
also Victor Pict-Ur-Music disc 01544 through 01546 theater music for silent movies
106 musicians used for this session. This 1927 recording is atmospheric and
a glorious performance, with the Philadelphia string sound at its most sumptuous.
Stokowski concludes his performance of the Romeo and Juliet Fantasy Overture
with the fermata prior to the usual last 4 bars, cuts these last 4 bars and adds
an additional, gentle chord an octave lower than the fermata chord, to make a quiet
revised ending - which he did throughout his career.
Victor 6995, 6996, 6997 A in M-46 coupled with the 1928 de Falla "Danse Espagnole"
This seems to be the first recording, either acoustic or electric of this work and would
the first hearing for most listeners of the era. The pace seems heavy;
the recording takes 16 minutes without repeats compared with modern
performances of perhaps 12 minutes with repeats, and 91 musicians played. Also, the famous
clarino trumpet solo of the third movement has been scored down an octave, reducing its
brilliant effect.
Victor 7087, 7088, 7089-A in M-59 coupled with the 1929
Chorale Prelude "Wir glauben all an einen Gott" 7089 B and Passacaglia in
C minor 7090
Most striking of the several Stokowski changes here is in the opening for horns and bassoon
written in triplets by Tchaikovsky - Stokowski replaces the triplets with eighth notes
this work, often performed histrionically, is given a noble, yet electrically
charged performance, with decisive brass and strings, superior to his later
1942 NBC Symphony, 1953 New York and 1968 Chicago Symphony recordings.
HMV:
D-1676, D-1677
AB-575, AB-576 (Spain)
serial nos. 6-0724, 6-0724, 6-0725, 6-0751
Victor Japan JL-7002 (Victor Company of Japan)
this recording was also pressed in Victor's plant in Argentina
Tchaikovsky: Russian Easter Overture: In August 1931, dubbed this recording onto
Victor L-7002 12 inch (30 cm) 33 1/3 RPM Victor "Program Transcription" disc,
matrix LCVE-69777-1 for Victor's new long-playing commercial introduction
- eventually unsuccessful, coupled with with 1929 Capriccio italien on
Victor L-7002 side B
Victor L-7002 33 1/3 side A matrix LCVE-69777-1 Russian Easter Overture
contained dubbed 78 RPM matrices CVE-48923-1, CVE-48924-3A, CVE-48925-2A, CVE-48926-1.
January 28, 30 1929
Academy of Music, Philadelphia, USA
P. I. Tchaikovsky
Capriccio italien opus 45 (1880)
this recording remained in the Victor catalogue through to the end of the 78 RPM era as
can be seen with this post-WW2 pressing
Tchaikovsky: Capriccio italien: In August 1931, dubbed this recording onto
Victor L-7002 12 inch (30 cm) 33 1/3 RPM Victor "Program Transcription" disc,
matrix LCVE-69778-1 for Victor's new long-playing commercial introduction
- eventually unsuccessful, coupled with with 1929 "Russian Easter Overture" on Victor L-7002 side A
Victor L-7002 33 1/3 side B matrix LCVE-69778-1 Capriccio italien contained
dubbed 78 RPM matrices CVE 48932-1, CVE 48933-2, CVE 48934-3, CVE 48935-2.
January 28, 1929
May 1, 1929
Academy of Music, Philadelphia, USA
Johann Sebastian Bach
Passacaglia and Fugue in c minor BWV 582
(Stokowski transcription)
Victor 7090, 7091 in M-59 coupled with 1928 Brandenburg no 2
also Victor 7093 through 7096 in AM-59 coupled with 1928 Brandenburg no 2
This recording has never been out of the catalogues since its release in 1929.
The Library of Congress included it in the Great Recordings of the Twentieth Century.
Above is one of the many reissues of this famous recording - an HMV LP issued in the 1950s
Pristine Classical CD PASC521 restored by Mark Obert-Thorn
Victor 8148 through 8152 in album M-58
Victor 8153 through 8157 in album AM-58
Victor 16773 through 16777 in album DM-58
Pristine Classical CD PASC521 restored by Mark Obert-Thorn
Mark Obert-Thorn in a fascinating Pristine Classical
CD PASC521 restored all of the surviving 'takes' from the April 10, 13, 1929 sessions. Over the years,
different matrices were used by Victor as older matrices wore out. Mark wrote:
"... what is perhaps less well-known is that this recording has existed in two almost entirely
different versions over the years, with a performance that was not Rachmaninov's first choice
being the only one available for half of its history. The present release brings the two
together for the first time..."
HMV:
DB 1333 through 1337
DB 7008 through DB 7012 automatic sequence
DB 7427 through DB 7431 automatic sequence
ED 773 through 777 (Australia)
serial nos. 42-600 through 42-609, 2-05742 through 2-05745, 2-08056 through 2-08059.
note: for some reason, CVE 47956-2 of 29 April 1929 was remade as CVE 47956-3A with
a 12 measure cut in movement 2. Both versions published; my copy has the cut side.
HMV:
D 1877 through D 1882
D 7686 through D 7691
EJ 598 through EJ 603 (Germany)
ES 755 through E 760 (Austria)
serial nos. 42-933 through 42-938, 42-927 through 42-932 in that order
this recording with Marcel Tabuteau playing English horn stayed
in the catalogue to the end of the 78 RPM era as shown by
this post-WW2 pressing
Victor 7380
matrices CVE 47973-1 and CVE 47980-1
Laila Storch wrote 7:
"...John de Lancie remembered Tabuteau's story of how the record came to be made in May 1929.
'Stoki called him up one morning and said, "I would like to record the Swan tomorrow."
Tabuteau didn't even have an English horn. He got on the train and went to New York
to rent an instrument. He then came back to Philadelphia the same evening, sat up
all night in his studio making English horn reeds, then went in the next morning
and recorded it'."
Sibelius: Swan of Tuonela: In 1933, Victor also dubbed this recording onto a
Victor 33 1/3 RPM 12 inch (30 cm) double sided long play "Program Transcription" disc
Victor L-11656 for Victor's long-playing record programme - eventually unsuccessful.
Victor L-11656 33 1/3 side A matrix LCS-76752-1 contained dubbed 78 RPM CVE 47973-2,
and dubbed 78 RPM matrix CVE 47980-3. Side B of the disc contained the April 1930
recording of Sibelius's Finlandia dubbed to 33 1/3 speed.
May 2, 1929
Academy of Music, Philadelphia, USA
Johann Sebastian Bach
Well-Tempered Clavier Book 1 - Prelude 24 in b minor, BWV 869
Victor Japan pressing the Prelude BWV 869
Victor 7316 B
matrix CVE 47974-2
HMV:
D 1938 (A) with March 1930 Handel Pastoral Symphony
D 1995 (A) with May 1929 Hoffstetter/Haydn
serial no. 42-1027
Victor Japan ND-252 with 1930 Handel Pastoral Symphony (Victor Company of Japan)
Victor VD-7244 B with 1930 Handel Pastoral Symphony (Victor Company of Japan)
Victor JD-2015 B with 1929 Mengelberg NYPh J. C. Bach Sinfonia (Victor Company of Japan)
L'Arlésienne - Suite 1 plus Danse provençale from Suite no 2
(as arranged by Stokowski)
Victor 7124, 7125, 7126 in album M-62
matrices CVE 47981-2, CVE 47982-1, CVE-47983-2 and later CVE-47983-3,
CVE-47984-1 and later CVE-47984-2, CVE 47985-2, CVE 47986-1
Stokowski's suite is essentially the L'Arlesienne Suite no 1, with the
addition of a Danse provençale, which is the Andantino from the Pastorale
of the L'Arlesienne Suite no 2 - Stokowski inserts it
between the Adagietto and the concluding Carillon of Suite no 1.
HMV:
D 1801 through D 1803
D 7363 through D 7365 automatic sequence
AB 603 through AB 605 (Spain)
AW 143 through AW 145 (Italy)
EJ 554 through EJ 556 (Electrola Germany)
W 1089 through W 1091 (Gramophone France)
serial nos. 42-701 through 42-706
Victor Japan JD-1687 in album JAS 781 (Victor Company of Japan)
Victor Japan 7124-6 in album JAS 95 (Victor Company of Japan)
Wagner: Tannhäuser: In August 1933, Victor also dubbed this recording onto two
Victor 33 1/3 RPM 12 inch (30 cm) double sided long play "Program Transcription" discs
Victor L-11669 and L-11670 for Victor's long-playing record programme - eventually unsuccessful.
Victor L-11669 33 1/3 side A matrix LCS-76754-1 contained dubbed 78 RPM CVE 51876-6
and dubbed 78 RPM matrix CVE 51877-5A. Side B matrix LCS-76755-1 contained dubbed 78 RPM
matrices 51878-2 and CVE 51879-4A.
Victor L-11670 33 1/3 side A matrix LCS-76756-1 contained dubbed 78 RPM matrices
CVE 51880-1A and CVE 51875-2, with side B blank.
An automatic sequence "Program Transcription" album contained
Victor L-11747 and L-11748.
September 24, 25, 1929
and March 12, 1930
Academy of Music, Philadelphia, USA
Igor Stravinsky
with beautiful bassoon solos by Walter Guetter
Le Sacre du Printemps (1913; 1929 score)
(Rite of Spring)
Mark Obert-Thorn in his fascinating Pristine Classical album PASC422 has
shown matrix pairs CVE-37471-4/4A and 47975-1/1A to have been fed by different
microphones, therefore giving an "accidental stereo" image when stabilized
by the Capstan pitch-stabilizing program and careful phase allignment - a
technical tour-de-force by Mark Obert-Thorn. Visit
Pristine Classical for fascinating recordings.
Carnival des animaux Carnival of the Animals (1886)
Olga Barabini and Mary Binney Montgomery, pianists (Olga Barabini studied with
Arrau and Hofmann)
excellent restoration of this fine electrical recording by Mark Obert-Thorn on Biddulph WHL-012
Mark Obert-Thorn in his fascinating Pristine Classical album PASC422 has
shown matrix pair CVE-51883-2/2A to have been fed by different
microphones, therefore giving an "accidental stereo" image when stabilized
by the Capstan pitch-stabilizing program and careful phase allignment - a
technical tour-de-force by Mark Obert-Thorn. Visit
Pristine Classical for fascinating recordings.
Victor 7200, 7201, 7202-A in M-71 coupled with 1928 Tchaikovsky Song without
Words on final B side.
matrices CVE 56834-1 (and in later years, CVE 56834-2A) and CVE 56835-2A
Although put in its final form in 1900, Stokowski and the Philadelphia Orchestra
had been performing Finlandia regularly for the previous 15 years.
Gramophone magazine in December, 1931 said: "...There is a fine flare in this
Finlandia; fire and weight too, and dignity, not surpassed in warmth by
anything I know..."
Sibelius: Finlandia: In 1933, Victor also dubbed this recording onto a
Victor 33 1/3 RPM 12 inch (30 cm) double sided long play "Program Transcription" disc
Victor L-11656 for Victor's long-playing record programme - eventually unsuccessful.
Victor L-11656 33 1/3 side B matrix LCS-76753-1 contained dubbed 78 RPM CVE 56834-2A,
and dubbed 78 RPM matrix CVE 56835-3A. Side B of the disc contained the May 1929
recording of Sibelius's Swan of Tuonela dubbed to 33 1/3 speed.
last regular recording in the Academy of Music until 25 November 1935 with
full orchestra of 96 musicians: 36 violins, 12 violas, 10 basses, 4 oboes, 4 bassoons,
5 clarinets, 4 flutes, 3 trumpets, 4 trombones, 8 horns, 1 tuba, 2 harps,
2 percussion, and tympani
Victor 7454 in M-116 with 1931 "Danses sacrée et profane"
first recording back in the Camden Church recording location after leaving the
Academy of Music to save money, with a reduced orchestra 57 musicians:
12 violins, 4 violas, 5 cellos, 3 basses, 4 oboes, 4 bassoons, 4 clarinets,
4 flutes, 4 horns, 4 trumpets, 3 trombones, 1 tuba, 2 harps, 3 percussion
Victor 7437 coupled with Chorale Prelude "Christ lag in Todesbanden" BWV 625
matrix CVE 64077-2 (later CVE 64077-1)
HMV:
DB 1952
Electrola DB 1952 (Germany)
serial no. 42-1181
matrix A 64077
Victor Japan JD-2011 with "Christ lag in Todesbanden" (Victor Company of Japan)
Victor Japan ND-273 with "Christ lag in Todesbanden" (Victor Company of Japan)
Victor Japan VD 8196 with "Christ lag in Todesbanden" (Victor Company of Japan)
not issued; 10 inch (25 cm) matrices BVE-69016-1 and BVE-69017-1, -2 used for the Prelude
and BVE-69018-1, BVE-69019-1, BVE-69020-1 for "Liebestod"
not released by HMV
July 15, 1931
Academy of Music, Philadelphia, USA
Ludwig van Beethoven
Symphony no 5 in c minor opus 67
33 1/3 RPM Victor L-7001 which launched Victor's unsuccessful "Program Transcription" project
Victor L-7001 two sided 12 inch (30 cm) 33 RPM disc matrices LCVE 67543-1, LCVE 67544-1
- 17 and 14 minute sides each done in one take. HMV 42-1217 and 42-1218 are listed
by the Discography of American Historical Recordings3, but may not have
been issued by HMV
recorded directly onto 33 1/3 RPM Victor "Program Transcription" matrices for
Victor's new long-playing commercial introduction - eventually unsuccessful.
The only 1931 Philadelphia Orchestra Victor recording in the Academy of Music.
later reissued in a 4 LP album Neiman-Marcus DPM4-0210
Wagner Concerts of 15, 16, 18 January 1932: The Philadelphia Orchestra concerts
of 15, 16, 18 January 1932 were performed in the larger Metropolitan Opera House, North Broad Street,
Philadelphia and broadcast by CBS radio. Sponsors paid for the broadcast equipment to be installed
in the Opera House, and it may be that the Bell Telephone experimental recordings were either taken
from the radio feed or from independent Bell Telephone equipment.
February 5, 6, 1932
Academy of Music, Philadelphia, USA
P. I. Tchaikovsky
Piano Concerto no 1, in B flat minor, opus 23 - excerpts
Vladimir Horowitz piano - his earliest known concert performance
conducted not by Stokowski, but by Fritz Reiner and included here as part of the Bell Labs experimental recordings listing.
parts of individual movements recorded live by Bell Laboratories engineers but not
released until Ward Marston restorations. Exciting performances.
restored by Ward Marston and included in the 2 CD set 52073-2 "Landmarks of Recorded Pianism, Volume 1"
Tableaux d'une exposition (Pictures at an Exhibition) - Promenade, Gnomus -
Vecchio castello - Bydlo, Poussins dans leur coque, Samuel and Schmuyle - La
cabane sur des pattes de poule, Grande porte de Kiev (excerpts)
Bell Telephone BTL-7901-B 33 RPM from from Bell matrices restored by Ward Marston
in 1979-1980
Scriabin: Poem of Extasy, Poem of Fire: At the same time as the 78 RPM Scriabin
recordings, they were also recorded directly onto two 12 inch (30 cm) 33 1/3 RPM Victor
"Program Transcription" discs in Victor album LM-125: Victor L-11616 (Extasy) and L-11617 (Fire).
This 33 1/3 RPM album was released by Victor in June, 1932 at the height of the great depression.
L-11616 (Extasy) used 33 1/3 matrix LCSHQ-72019-1 for side A, 33 1/3 matrix LCSHQ-72022-1 side B.
L-11617 (Fire) used 33 1/3 matrix LCSHQ-72025-1 for side A, 33 1/3 matrix LCSHQ-72028-1 side B.
These recordings were also mastered onto automatic changer 33 1/3 RPM sequence on
Victor "Program Transcription" discs L-11689, L-11690
April 9, 1932
Metropolitan Opera House, Philadelphia, USA
Arnold Schoenberg
Gurre-Lieder (1911) sung in English
33 1/3 RPM "Program Transcription" recording
Victor recorded seven 12 inch (30 cm) 33 1/3 RPM "Program Transcription" discs: L-11609 through L-11615 in
Victor album LM-127 consisting of 13 sides of the Gurre-Lieder and one side of Stokowski's
explanation of Gurre-Lieder themes.
33 1/3 RPM matrices: LCSHQ-71699-1 through LCSHQ-71711-1. sides were faded out and faded in
on two separate cutting machines.
see April 30, 1932 for recording of Stokowski's explanation of themes on
L-11609 side A matrix LCSHQ-72606-1
Victor also released an album of 33 1/3 "Program Transcription" discs of Gurre-Lieder in
automatic sequence on discs L-11682 though L-11688.
Princeton Glee Club, Fortnightly Club, Mendelssohn Club, Mixed Chorus
78 RPM recording
this first recording of Gurre-Lieder remains one of the finest after
more than 85 years
Fourteen Victor 12 inch (30 cm) 78 RPM discs: Victor 7524 through 7537 in album M-127
consisiting of 27 sides of Gurre-Lieder music and one side of Stokowski's explanation
of Gurre-Lieder themes.
also 7524 through 7537 in M-127
also 7538 through 7551 in AM-127 automatic sequence
also 11-8061 through 11-8074 in DM-127 automatic sequence
matrices CSHQ-71674-2 through CSHQ-71698-2 and CSHQ-71712-1, CSHQ-71713-1 recorded Monday
April 11, 1932. a similar series of matrices CSHQ-71674-1 through CSHQ-71698-1
were recorded at the concert of Friday April 8, 1932 but were incomplete missing the
last two sides and not used. In both recording sessions, sides were faded out and faded in
on two separate cutting machines.
HMV:
HMV DB 1769 through DB 1782
HMV DB 7293 through DB 7306 automatic sequence
serial nos. 42-1259 (talk side), 42-1260, 42-1230 through 42-1235, 42-1261 through 42-1263,
42-1236 through 42-1240, 42-1264, 42-1265, 42-1241 through 42-1250
(Stokowski's first version of the 'Synthesis': Prelude to Act 1,
Act 1 parts of Scene 4 and 5 when Tristan meets Isolde, hunting horns beginning Act 2,
the love scene of Act 2, Act 3 music Tristan awakes with yearning, and concluding with
the Liebestod music)
Tristan und Isolde - Symphonic Synthesis: At the same recording session, this performance
was recorded onto two 12 inch (30 cm) 33 1/3 RPM Victor "Program Transcription"
L-11636, L-11637 in album LM-154.
L-11636 side A used 33 1/3 matrix LSCHQ-72064-1, side B used 33 1/3 LSCHQ-72067-1.
L-11637 side A used 33 1/3 matrix LSCHQ-72070-1, side B used 33 1/3 matrix LSCHQ-72072-1.
The recording was also mastered onto automatic changer 33 1/3 RPM sequence on
Victor "Program Transcription" discs L-11711, L-11712.
April 23, 1932
Camden Church Studio 1, Camden, NJ USA
Jean Sibelius
Symphony no 4 in a minor, opus 63 (as edited by Stokowski)
Victor 7683, 7684, 7685, 7686 in album M-160,
Victor 7687, 7688, 7689, 7690 in album AM-160 automatic sequence
Victor 17172, 17173, 17174, 17175 in album DM-160 automatic sequence
Sibelius: Symphony no 4: At the same recording session, this performance
was recorded onto two 12 inch (30 cm) 33 1/3 RPM Victor "Program Transcription"
L-11638, L-11639 in album LM-160.
L-11638 side A used 33 1/3 matrix LSCHQ-72078-1, side B used 33 1/3 matrix LSCHQ-72081-1.
L-11639 side A used 33 1/3 matrix LSCHQ-72084-1, side B used 33 1/3 matrix LSCHQ-72087-1.
The recording was also mastered onto automatic changer 33 1/3 RPM sequence on
Victor "Program Transcription" discs L-11711, L-11712.
April 26, 1932
rehearsal
Academy of Music, Philadelphia, USA
Richard Wagner
Die Walküre - excerpts (rehearsal)
recorded live by Bell Laboratories engineers but not released
Bell Telephone matrices BTL 2068 - BTL 2072 not released
composer and long-time violinist with the New York Philharmonic
The Raven (1931) based on the Edgar Allan Poe poem
Benjamin de Loache, speaker
"Picture Disc" of The Raven issued in 1933
The Philadelphia Orchestra concert pair of December 9, 10, 1932
including Dubensky's The Raven was recorded live onto a film soundtrack
using the RCA Photophone system, then dubbed onto FRC matrices FRC-74824-1 through FRC-74837-1.
On 10 February 1933 these The Raven FRC matrices FRC 74832 and FRC 74833
were transferred onto 10 inch (25 cm) 78 RPM matrices BS-69483-2, BS-69484-3,
BS-69485-2, BS-69486-2.
Victor 78 RPM 10 inch (25 cm) L-2000, L-2001 laminated Picture Disks
commercialized in April 1933.
The Raven was also dubbed onto 33 1/3 matrices LBS-75125-6 and LBS-75126-5
on 7 March 1933 for a Victor 33 1/3 RPM 10 inch (25cm) "Program Transcription"
disc L-1006. It was commercialized in April 1933.
unidentified composer: "Painting of Landscape; Melody of People"
MacDowell: Suite no 2 opus 48 "Indian" - III 'In War-Time', IV 'Dirge' with Benjamin De Loache, speaker
Debussy: Nocturnes (1899) - "Nuages", "Fêtes"
Sibelius: "The Tempest" opus 109 - Berceuse
Sibelius: Finlandia opus 26
unidentified: "Painting of Landscape; Melody of People"
these recordings were not released
Philadelphia Orchestra concert of 9 December 1932
Not released: The Philadelphia Orchestra concert pair of December 9, 10, 1932 was recorded live
onto a film soundtrack using the RCA Photophone system,
then dubbed onto fourteen FRC matrices FRC-74824-1 through FRC-74837-1.
In February 1933, some of these were FRC matrices were dubbed onto 10 inch (25 cm)
78 RPM matrices, although not released.
The Macdowell suite matrices FRC-74824, FRC-74825, FRC-74831 and FRC-74832
were dubbed onto BS-75603 and BS-75604.
Debussy: Nocturnes (1899): "Nuages" FRC-74827 and "Fêtes" FRC-74828 not dubbed.
Sibelius "The Tempest" movement matrix FRC-74834 and FRC-74835 dubbed onto BS-75605.
Sibelius Finlandia matrix FRC-74828, FRC-74829, FRC-74836 not dubbed.
"Painting of Landscape" matrix FRC-74837 not dubbed.
Kammermusik no 2 opus 36 no 1 (this was the premiere performance and recording)
Eunice Norton, piano
not released on 78 RPM discs
Eunice Norton in 1932
the Philadelphia Orchestra concert pair of December 16, 17, 1932 was recorded live
onto RCA Photofilm soundtracks FRC-74868-1 and FRC-74869-1.
In February 1933, the Hindemith work was dubbed from the Photofilm soundtracks onto
five Victor 12 inch (30cm) 78 RPM matrices CS 75147-1, CS 75148-1, CS 75149-1,
CS 75150-1, CS 75151-1 but not issued. This recording was restored by Ward Marston
and issued in Andante CD set 4978.
not released by HMV - see Andante CD 4978 for Ward Marston's restoration
Page
December 16, 17, 1932
Academy of Music, Philadelphia, USA
Richard Wagner
Richard Strauss
Wagner: Siegfried "Symphonic Synthesis" of Leopold Stokowski
Strauss: Tod und Verklärung
The Philadelphia Orchestra concert pair of December 16, 17, 1932 was recorded
live onto a film soundtrack using the RCA Photophone system. These concerts included
Stokowski's "Symphonic Synthesis" from Wagner's Siegfried, and the
Strauss Tod und Verklärung.
(Theses recordings were not released by Victor)
In February and March 1933 the Siegfried Synthesis music from
Photophone matrices FRC-74865-1, FRC-74866-1, FRC-74867-1 was dubbed onto
12 inch (30 cm) 78 RPM matrices CS-69487-1, CS-78152-2, CS-75153-2, CS-75190-3,
CS-75191-2, CS-75192-2, although not released. The music from Act 1 Scene 3
"the forging of Nothung" which begins the Synthesis was separately
dubbed on 31 January 1933 directly from film to a 10 inch (25 cm) 78 RPM
matrix BS-69487-1, not issued.
Strauss Tod und Verklärung was transfered from RCA Photofilm masters
FRC-74870-1, FRC-74871-1, FRC-74872-1 and subsequently dubbed to
matrices CS-75137-1, CS-75138-1, CS-75139-1, CS-75140-1, CS-75141-1, CS-75142-1,
also not released.
Erda's music given to the English horn in a 5 minute extended solo by Robert Bloom
Das Rheingold - Symphonic Synthesis
Part 1 of the Synthesis: the Prelude, Alberich with the Rhinemaidens, the descent of Wotan and
Loge into Nibelheim, Erda's warning. Part 2 "Entrance of the Gods into Valhalla" as arranged by
Stokowski.
"Program Transcription" 33 1/3 RPM recording in album LM-179
Das Rheingold - Symphonic Synthesis:
At the same time as the 78 RPM Rheingold recording, this was also recorded directly
onto two 12 inch (30 cm) 33 1/3 RPM Victor "Program Transcription" discs in album LM-179.
The discs were Victor L-11643, L-11644.
L-11643 side A used 33 1/3 matrix LSC-75179-2, side B used 33 1/3 matrix LSC-75182-2.
L-11644 side A used 33 1/3 matrix LSC-75185-1, with side B blank.
It was also mastered onto automatic changer 33 1/3 sequence on
Victor "Program Transcription" discs L-11716, L-11717.
March 4 1933
April 29, 1933
Camden Church Studio 2, Camden, NJ USA
Johannes Brahms
Symphony no 4 in e minor opus 98
Biddulph Recordings issued CDs of this plus the
Stokowski - Brahms Symphonies of 1927, 1928, 1929 restored by Ward Marston with
notes by Edward Johnson (WHL-017-18)
Brahms: Symphony no 4: At the same recording session, this performance
was recorded onto three 12 inch (30 cm) 33 1/3 RPM Victor "Program Transcription"
discs L-11653, L-11654, L-11655 in album LM-185, but not released.
L-11653 side A used 33 1/3 matrix LSC-75164-1, side B used 33 1/3 matrix LSC-75166-2.
L-11654 side A used 33 1/3 matrix LSC-75170-1, side B used 33 1/3 matrix LSC-75173-1.
L-11655 side A used 33 1/3 matrix LSC-75176-2, with side B blank. They were not
released.
The recording was also mastered onto automatic changer 33 1/3 RPM sequence on
Victor "Program Transcription" discs L-11736, L-11737, L-11738. They were not
released.
March 25, 1933
April 29, 1933
October 28, 1933
Camden Church Studio 2, Camden, NJ USA
Richard Wagner
Die Götterdämmerung - excerpts as arranged by Stokowski
Dawn & Siegfried"s Rhine Journey, Siegfried"s Death &
Funeral Music, Immolation & Finale
Agnes Davis - Brünnhilde in the finale. She was a Curtis Institute student at the time
Die Götterdämmerung: The conclusion of this recording, Siegfried's Death parts 1, 2, and 3,
and Brünnhilde's Immolation scene, were recorded onto a film soundtrack using the
RCA Photophone system: film masters F 75634, F 75678 and F 75681. The source of the
33 1/3 RPM Victor "Program Transcription" matrices is reported differently.
On 9 and 20 June 1933, the Photophone film masters were dubbed onto 33 1/3 RPM Victor
"Program Transcription" matrices making up the last three 33 1/3 RPM album sides:
L-11672 sides A and B, and L-11673 side A (side B blank); supported by
Library of Congress data. These dubbed 33 1/3 matrices were LCS-75634-3, LCS-75681-1 and
LCS-75678-2. Hoiwever, the Discography of American Historical Recording 3
states that for 33 1/3 matrix LCS-75634 "...Takes 3 and 4 are noted in Victor
ledgers as dubs 'from 35mm film to 33 1/3-rpm disc.' ADP editors believe this is may
be an error, and instead they are 78-rpm disc to 33 1/3-rpm disc transfers."
In any case, 33 1/3 matrices LCS-75628-1 and LCS-75631-1 used for the first two
sides of the long play album L-11671 were dubbed from the 78 RPM master matrices,
and the remaining three sides: album L-11672 sides A and B, and L-11673 seem to
have used the RCA Photophone film masters as their source, according to the
Library of Congress data.
The three 12 inch (30 cm) 33 1/3 RPM discs were released in 1933 in album LM-188. The
recording was also issued on a 33 1/3 RPM Victor "Program Transcription" album in
automatic changer sequence: L-11736 through L-11738 (sixth side blank)
April 29, 1933
Camden Church Studio 2, Camden, NJ USA
Johann Sebastian Bach
"Komm, süsser Tod" from BWV 478 attributed to Bach
Toccata, Adagio and Fugue in c major BWV 564 - Adagio
Victor recorded these using the RCA Photophone system master F 75682 (BWV 478)
and master F 75683 (BWV 564) both not issued
not issued by Victor. See the successful recording of these on 28 October 1933,
including Stokowski's only recording of the Adagio from the Toccata, Adagio and Fugue
in c major BWV 564.
not issued by HMV
Page
MP3
October 28, 1933
Camden Church Studio 2, Camden, NJ USA
Johann Sebastian Bach
"Komm, süsser Tod" from BWV 478 attributed to Bach
(Stokowski transcription)
Victor 8496 in M-243 (Bach "250 Anniversary Album")
also Victor 8550 in AM-243 (Bach "250 Anniversary Album")
also Victor 16631 in DM-243 (Bach "250 Anniversary Album")
also Victor 8432 in M-236 Beethoven Symphony no 9 as a filler after 1942
also Victor 16621 in DM-236 Beethoven Symphony no 9 as a filler after 1942
matrix CS 75189-3
HMV:
DB 2274
serial no. 42-1464
Victor Japan JI-50 A in album JAS 544 Bach album (Victor Company of Japan)
Stokowski's excerpts consisted of Act 1 'Spring Song' of Sigmund, Act 3 Ride of the Valkyries,
Act 3 Wotan's Farewell and Fire Music.
The 78 RPM and 33 1/3 RPM recordings were not released.
These excerpts were recorded simultaneously on 78 RPM matrices and 33 1/3 "Program Transcription"
matrices, using multiple cutting machines fading from one matrix to the next without stops.
78 RPM matrices: CS-77875-1 through 77882-1
two 33 1/3 "Program Transcription" discs L-11674, L-11675 matrices: LCS-74587-1
to LCS-74590-1 not released.
Victor also prepared this recording on 33 1/3 "Program Transcription" discs
in automatic changer sequence discs l-11739, L-11740 also not released.
The 78 RPM and 33 1/3 RPM recordings were not released.
As with Die Walküre, above, this Rapsodie espagnole was recorded
simultaneously on 78 RPM matrices and 33 1/3 "Program Transcription"
matrices, with multiple cutting machines using 'fade out, fade in'.
The 78 RPM and 33 1/3 RPM recordings were not released.
78 RPM matrices: CS-77883-1 through 77886-1
33 1/3 "Program Transcription" matrices: LCS-74591-1 and LCS-74592-1 not released
Eight Russian Folk Songs opus 58 (as arranged by Stokowski):
- 'Religious Chant'
- 'Christmas Carol - Kolyada'
- 'Plaintive Melody'
- 'Humorous Song "I Danced With The Gnat"'
- 'Legend of the Birds'
- 'Cradle Song'
- 'Round Dance'
- 'Village Dance Song'
The 78 RPM recordings were not released.
Recorded simultaneously on 78 RPM matrices and 33 1/3 "Program Transcription"
matrices, with multiple cutting machines using 'fade out, fade in'.
When these Liadov transcriptions were successfully recorded on 17 March 1934,
it was released on one 12 inch (30 cm) and one 10 inch (25 cm)
Victor Red Seal record rather than the all 12 inch matrices of this session.
This 28 October 1933 recording was also prepared for Victor's ultimately
unsuccessful 33 1/3 "Program Transcription" programme.
The 78 RPM recordings were not released, but the 33 1/3 "Program Transcription"
matrices were used for the later November 1934 release.
As with the October 1933 sessions, this was recorded
simultaneously on 78 RPM matrices and 33 1/3 "Program Transcription"
matrices, with multiple cutting machines using 'fade out, fade in'.
Victor 7884 through 7888 later coupled with 1935 Shostakovich Prelude opus 34 no 14 in album M-192.
also Victor 7884 through 7893 in album AM-192.
also Victor 16601 through 16605 in album DM-192.
matrices: CS-78433-1 through 78453-1 and 78455-1, 78456-1. However, the last two
matrices 78455-1, 78456-1 were later damaged - see the matrix note below.
HMV:
DB 2203 through DB 2207 A with 1928 Tchaikovsky "Song without Words" side B
DB 7687 through 7691 automatic sequence
DB 3847 through DB 3851 with 1928 Tchaikovsky "Song without Words"
DB 8695 through DB 8699
serial nos. 42-1433 through 42-1441
matrices A 78443, A 78444, A 78446, A 78447, A 78449, A 78450, A 78452, A 78453, A 78455
Victor Japan JI-17 through JI-21 A in album JAS 516 with 1925 Ippolitov-Ivanov "In the Village" (Victor Company of Japan)
note on Shostakovich: Symphony no 1 matrices: The last two matrices
of this recording session, 78455-1, 78456-1 were damaged, and rather than a new recording,
Victor dubbed the 33 1/3 RPM matrix LCS-78457-1 onto one 78 RPM matrix CS-78949-4 which
became side A of disc 7888, with side B blank. In later years, the 30 December 1935
Philadelphia recording of the Stokowski orchestration of the Shostakovich Prelude opus 34 no 14 in
e flat minor was added to the M-192 Album as side 10.
Shostakovich: Symphony no 1: At the same recording session, this performance
was recorded on three 33 1/3 "Program Transcription"
discs: L-11744, L-11745 and L-11746. L-11744 side A used 33 1/3 RPM matrix LCS-78445-1 and
side B used 33 1/3 RPM matrix LCS-78454-1. L-11745 side A used 33 1/3 RPM matrix LCS-78448-1
and side B used 33 1/3 RPM matrix LCS-78457-1. L-11746 side A used 33 1/3 RPM matrix
LCS-78451-1, and side B was blank.
A 33 1/3 "Program Transcription" album in automatic changer format was released
on 3 discs: L-11749, L-11750, L-11751 with side B blank.
also November 18, 1933 session for the 33 1/3 RPM "Program Transcription"
recording
Camden Church Studio 2, Camden, NJ USA
Anatoly Liadov
Eight Russian Folk Songs opus 58 (as arranged by Stokowski):
- 'Religious Chant'
- 'Christmas Carol - Kolyada'
- 'Plaintive Melody'
- 'Humorous Song "I Danced With The Gnat"'
- 'Legend of the Birds'
- 'Cradle Song'
- 'Round Dance'
- 'Village Dance Song'
Victor Argentina release of Liadov "Ocho Canciones Folkloricas Rusas"
These Liadov Songs were recorded on 78 RPM matrices during the March 17, 1934 session
and on 33 1/3 "Program Transcription" matrices during the November 18, 1933 session.
Multiple cutting machines were used so that sides could be faded from one matrix to the next
without the orchestra stopping between takes.
The 78 RPM recordings were released on one 12 inch (30 cm) Victor Red Seal disc 8491
and one 10 inch (25 cm) disc 1681.
Liadov: Eight Russian Folk Songs:
These Liadov Songs were recorded on two 33 1/3 RPM matrices during the
November 18, 1933 session and issued on a Victor "Program Transcription" disc L-11752.
The "Program Transcription" disc L-11752 side A used 33 1/3 RPM matrix LCS-78439-1 and
side B used 33 1/3 RPM matrix LCS-78442-1. The "Program Transcription" album
was released one year later in November 1934
There was a prolonged controversy when Stokowski programmed for a Philadelphia Orchestra
youth concert of 23 March 1934 8.
not issued
page
MP3
April 7, 1934
Camden Church Studio 2, Camden, NJ USA
Richard Strauss
"Tod und Verklärung" opus 24 (1889)
HMV and Electrola DB 2324-2326
Victor 8288, 8289, 8290, 8291 in M-217 as originally issued on 4 discs with side 8 blank.
later on 14 August 1934 matrices CS 82174-1 and CS 82175-1 were dubbed onto one side CS 83194-1A
with all except earliest albums having 3 discs, eliminating 8291
Victor 8292, 8293, 8294 in AM-217 with fade out and fade in between sides
this recording is hampered in the fourth movement by its group of undistinguished soloists
and a poorly trained chorus, but the orchestral playing throughout is noble and
distinguished.
Nine Victor 12 inch (30 cm) Red Seal discs 8424 through 8432 A
in album M-236 (think of the weight and cost)
also issued in two different automatic play sequences: AM-236 and DM-236
the 18th side contains 28 October 1933 Bach: 'Komm, süsser Tod' BWV 478 in the
US Victor album
Die Walküre - "Symphonic Synthesis" (arranged by Stokowski - begins with an orchestral introduction
leading up to Act 2 Scene 4, called the 'Death Prediction' or 'Todesverkundigung' scene,
then 'Ride of the Valkyries, concluding with the conclusion of Act 3 sung by Wotan)
Victor 8542 through 8545 in album M-248
also Victor 8546 through 8549 in album AM-248
also Victor 16640 through 16643 in album DM-248
matrices CS 83102-1, CS 83103-1, CS 83104-1, CS 83105-1, CS 83106-1, CS 83107-1,
CS 83108-1, CS 83109-1 all first takes
Lawrence Tibbett, baritone as Wotan during the last 16 minutes of this recording
in a role he did not sing in the opera house, although several times in concert performance
HMV:
DB 2470 through DB 2473
DB 7955 through DB 7958 automatic sequence
Victor Japan JI-58 through JI-61 in album JAS 552 (Victor Company of Japan)
"In the Manger" as transcribed by Stokowski - labeled by Stokowski simply
as "Russian Christmas Music (traditional)" without attribution to Ippolitov-Ivanov
Victor 1692-A
matrix BS 84549-1 and later BS 84549-1A coupled with 1933
Chorale Prelude "Ein feste Burg ist unser Gott"
HMV:
seems not released in Europe by HMV (see serial number assigned)
Victor JE-10 B also with "Ein feste Burg" (Victor Company of Japan)
Victor 12 inch (30 cm) disc 11-8576 B in album M-963 issued from dub D3-RC-410 made 4 February 1944
the original 1934 10 inch (25 cm) matrix BS 84578-1 was not issued in the USA.
Victor dubbed the 10 inch matrix to 12 inch matrix 4 times in 1943-1944.
In 1946, the dub was added to album M-508 (Stokowski's arrangement of
Tristan und Isolde: Act 2) and to album M-963
(Stokowski's Bach transcription recordings of 1937, 1939, 1940).
HMV:
the HMV DA 1606 10 inch (25 cm) disc is the only pressing of the 10 inch matrix BS 84578-1
this recording was not released. Note that Stokowski recorded his excerpts from Parsifal: Act 3
on April 7, 1934.
During his long career, Parsifal was the only Wagner opera which Stokowski conducted in its
entirety; performed in concert three consecutive evenings during Easter 1933.
matrices CS 87008, CS 87009, CS 870010, CS 87011, a take recorded during each of the
two sessions of November, December on two cutting
machines faded between sided (i.e. 4 matrices of each side)
Stokowski used music from Act 1 scene 2 where Wotan, disguised, asks questions of dwarf Mime;
then Siegfried's Forging Song; then "Forest Murmurs"; finally to the finale Act 3 on
Brünnhilde's rock including Siegfried and Brünnhilde's love duet.
A majestic and solid performance, with the great beauty of the Philadelphia Orchestra at the height of
their powers in the 1930s
Victor 14845 through 14847 A (side B blank) in album M-441 with 1927 Götterdämmerung closing scene
as a filler in later albums
Victor 14848 through 14850 A (side B blank) in album AM-441 with 1927 Götterdämmerung in later albums
Victor 16423 through 16425 A (side B blank) in album DM-441 with 1927 Götterdämmerung in later albums
also Victor G-567 for matrices CS 87017-1, CS 87019-1 only - purpose for this disc may have been instructional
subsequent to a famous disagreement between Heifetz and Stokowski during this recording, it
was not released at the time. It was restored by Ward Marston aided by Mark Obert-Thorn
from the only remaining pressing held by Heifetz and released on CD in
Philadelphia Orchestra Association commemorative box POA 100
Not released on 78 RPM records - see Philadelphia
Orchestra Association POA 100
not released by HMV
Page
December 24, 1934
Camden Church Studio 2, Camden, NJ USA
Serge Rachmaninoff
Rhapsody on a Theme of Paganini opus 43
Serge Rachmaninoff, piano
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 equal in their contribution.
recorded during the same session as the Heifetz Sibelius Violin Concerto, with 2 takes of each side
recorded and take 1 being selected by Stokowski throughout
Joseph La Monica (Second flute of the Philadelphia Orchestra 1910-1940)
Rouget de Lisle: La Marseillaise (with audience singing)
Schubert: Schwanengesang D957 (excerpt, as arranged for orchestra by Stokowski with audience singing)
La Monica: Saltarello for Piccolo and Orchestra
John Fischer piccolo
issued on Cala Records "First Releases" CACD 0502
On October 27, 1935 Stokowski conducted a Pension Fund concert, parts of which were
recorded by Victor and issued as a 78 RPM fund raising disc, not commercially available.
The excerpts listed here were included on this disc and commerically released for
the first time in 1995 on Cala Records as restored by Ward Marston. Ward Marston also obtained
the missing matrices to restore a complete performance of the La Monica: Saltarello for
Piccolo and Orchestra (only a portion had been included on the 78 RPM fund raising disc)
Victor 12 inch (30 cm) matrices CS-92860 though CS-92864 all first takes
This was the first recording since 1930 of Stokowski and the Philadelphia Orchestra
back in the Academy of Music (other than some live recordings)
Igor Stravinsky
Firebird Suite (1919 version) as arranged and edited by Stokowski
Walter Guetter bassoon
Introduction,
- Danse de l'Oiseau De Feu
- Ronde des Princesses
- Danse Infernale
- Berceuse
- Finale (as edited by Stokowski)
Victor 8926, 8927, 8928 A in album M-291 coupled with 1935 Shostakovich Prelude
Victor 8929 through 8931 in album AM-291
Victor 16697 through 16699 in album DM-291
matrices CS 92865-2, CS 92866-4, CS 92868-3 (transcribed 1R February 28, 1941 notes:
"Recorded from 8927-A Reduced level on loud parts"), CS 92869-2 (also CS 92869-2A), 92870-5
As in 1927, Stokowski cut more than one minute in the Finale. Apparently, Stokowski felt that
the somewhat repetitive nature of the build-up to the finale was better omitted, but Stravinsky
was quoted as not approving.
HMV:
DB 2882 through 2884
DB 8224 B through 8226 automatic sequence with 1935 Shostakovich Prelude DB 8224 A
Victor Japan JD-710 through JD-712 A in album JAS 602 with 1935 Shostakovich Prelude (Victor Company of Japan)
Victor Japan ND-463 through ND-465 A in album JAS 114 with 1935 Shostakovich Prelude (Victor Company of Japan)
Victor M-508 post-WW2 when "Adoramus te" was added to final side
This 1935 selection was Stokowski's second arrangement of excerpts from Act 2.
Recall that April 16, 23, 1932 Stokowski recorded excerpts from Act 2 concluding
with the Love Music (Liebesnacht). This 1935 arrangement concludes with Act 2 finale.
The recording was coupled with the 5 April 1937 Prelude to Act 1 beginning side A Victor M-508.
Following criticism, on April 20, 1939 Stokowski re-recorded the ending, substiting the
concluding Liebestod. Victor M-508 included this revised side after 1939.
Victor 15202 and 15203 A (1937 Prelude to Act 1), 15203 A, 15204, 15205, 15206 in M-508.
15206 B was blank in 1930s, with 1934 Palestrina added after 1943.
Victor 15207 A, 15208 A, 15209 A (1937 Prelude to Act 1), 15210, 15211, 15209 B, 15208 B, 15207 B
in AM-508. Final side blank in 1930s with 1934 Palestrina added after 1943.
Victor 16232 A, 16233 A, 16234 A (1937 Prelude to Act 1), 16235, 16236, 16234 B, 16233 B, 16232 B
in DM-508. Final side blank in 1930s with 1934 Palestrina added after 1943.
in 1939, matrix CS-72075-2 was added with the revised Liebestod ending
- Victor mistakenly used the matrix number of the final side of the April 23, 1932
Tristan und Isolde recording.
The 1937 Gramophone reviewer found it episodic: "When Stokowski keeps the ball rolling,
he does it magnificently but there are too many pot-holes in his sentiment.
I rarely feel his work as one whole-all-through adventure..."
Victor 8959 through 8964 A coupled with 'Panis Angelicus' 8964 B in
album M-300
matrix BS 94649-1 not issued by Victor in the USA.
The Discography of American Historical Recordings, UC Santa Barbara states
"Gramophone DA-1639 (Not issued)" for the only listed publication of this matrix.
Mark Obert-Thorn for his excellent Pearl GEMM 9098 restoration of Stokowski-Bach
Transcriptions states that his source was a test pressing of DA-1639. DA-1639 was
also issued by Electrola Germany.
HMV:
Electrola DA 1639 coupled with 1937 Chopin Prelude
Victor 15814 in M-630 coupled with 1939 "Fêtes" and "Sirènes"
matrices CS 014371-1, CS 014372-1
in the 12 December 1937 session, "Sirènes" was unsuccessfully recorded on 10 in (25 cm)
matrices BS-014388-1, BS-014389-1, BS-014390-1 which were not published.
In the eventual 9 April 1939 recording of "Sirènes", 12 inch (30 cm) matrices were used
due to length.
Victor 15815, 15816 A (side B blank) in album M-630 coupled with 1937/1939 Nuages and Fêtes
matrices CS 35421-1, CS 35422-1, CS 35423-1
in 12 December 1937 session, Sirènes was unsuccessfully recorded on 10 in (25 cm) matrices
BS-014388-1, BS-014389-1, BS-014390-1 which were not published. In this 9 April 1939 recording
12 inch (30 cm) matrices were used, all first takes.
Chorale Prelude "Ein feste Burg ist unser Gott" BWV 720
labeled as being by Bach, usually referred to as from BWV 720, this
transcription by Stokowski does not correspond either to the 1933 recording
(1939 is twice as long) nor to Bach BWV 720 nor BWV 80. It seems to be Stokowski's
own realization of the musical theme of Martin Luther
Victor 1692 (same catalogue number used as in the October 28, 1933 recording)
Stokowski in his December 16, 1935 selection of Tristan & Isolde
Act 2 (album M-508) concluded with the finale of Act 2. The public regretted
not ending with the "Liebestod" music as in Stokowski's April 1932 version.
This 1939 recording replaced the final side with this new ending (including "Liebestod")
which Victor used in M-508 thereafter.
Victor 15206 B in album M-508
matrix CS 72075-2
(this 1939 recording revised side 6 of album M-508, and Victor assigned
matrix CS-72075-2 - Victor mistakenly
used the matrix number of the final side of the April 23, 1932
Tristan und Isolde recording, rather than the December 16, 1935 matrix)
Tableaux d'une exposition (Pictures at an Exhibition):
The original composition was written by Mussorgsky in 1874 and were his musical
impressions of 10 (or perhaps 11) pictures, or tableaux by Mussorgsky's friend
Viktor Hartmann (1834–1873), shown at a retrospective exhibition of Hartmann's works.
In his original piano composition of 1874, there are ten 'tableaux', linked by 'Promenades'.
Mussorgsky composed the promenade music to represent an exhibition visitor walking from
picture to picture.
Stokowski's orchestration is made up of 10 sections, counting both Promenades and Tableaux,
but not exactly corresponding to Mussorgsky's original composition. Stokowski left
out two tableaux: 3. 'Tuileries', depicting children fighting after games, and
7. 'Limoges, le marché' ('Marketplace at Limoges'). Stokowski believed these two may have
been added by Rimsky-Korsakov who edited Mussorgsky's composition. The result was:
- Promenade
- Gnomus (The Gnome)
- Promenade
- Il vecchio castello (The Old Castle)
- Bydlo (heavy Polish cart)
- Promenade
- Ballet des poussins dans leur coque (Ballet of the Unhatched Chicks)
- Samuel Goldenberg and Schmuyle
- Catacombae, Cum mortuis in lingua mortua (Catacombs)
- La cabane sur des pattes de poule ('Baba Yaga's Hut on Fowls' Legs')
- La grande porte de Kiev (The Great Gate of Kiev)
November 27, 1939
March 15, 1941
Academy of Music, Philadelphia, USA
Camille Saint-Saëns
Carnival of the Animals (Carnival des animaux)
Jeanne Behrend and Sylvan Levin pianists
Victor M-785 and HMV DB 5942-5944
Victor 18047, 18048, 18049 in M-785
matrices CS 043651-1 through CS 043656-1
all first takes
HMV:
HMV DB 5942, DB 5943, DB 5944
HMV DB 8897, DB 8898, DB 8899 (automatic sequence)
ED 247, ED 248, ED 249 (Australia)
ED 754, ED 755, ED 756 (Australia automatic sequence)
matrices 2A 043651 through 2A 043656
Victor Japan ND-219 through ND-221 in album JAS 56
"Arioso" - from 1st first movement 'Sinfonia' of Bach's
Cantata no 156; also as the Largo movement from Bach;s
Concerto for harpsichord and strings BWV 1056.
The chronological table of Stokowski recordings, above, provides two links
for each recording:
1. The column to the right labeled "Link" will take you to the
page of this stokowski.org site which discusses the recording. Simply
click on the word "Page".
2. The column to the right labeled "MP3" gives a link to the
file, in mp3 format of the recording. Simply click on the word "MP3" to
download and listen to the mp3 file. Also note any MP3 files that are
indicated as being large, since they may take some time to download.
All the music files linked in the table are in mp3 format (128 mbps).
This means that they are of different sizes. For example, the second
file in the list, the April 29, 1925 Borodin ‘Polovetzki Dances’ is small -
3.6MB. In contrast, the 1929 Le Sacre du Printemps file is large. Part 1 is
14MB and Le Sacre part 2 is 16MB.
Victor Albums For Automatic Record Changers
When Victor first introduced Musicial Masterpiece albums with multiple discs, the
sides were sequenced for manual play by the listener turning over each disc in
sequence. So, for example with a four disc album the sequence was:
Record 1 contained sides 1 and 2
Record 2 contained sides 3 and 4
Record 3 contained sides 5 and 6
Record 4 contained sides 7 and 8
These Musical Masterpiece albums used the album prefix M-, as for example M-253.
Beginning in 1927, Victor introduced its first automatic record changing players,
beginning with the Victrola model VE 10-50 selling for an astronomical US$600.00.
Yet an estimated 12,000 model VE 10-50 machines were sold in less than two years, prior to
the intrduction of later models 5. The VE 10-50 featured an
acoustic process player with an electrically driven mechanism. Records would
slide off the turntable, and albums with new automatic sequencing were introduced
with the prefix AM-, as for example AM-253.
the Victrola model 10-50 Autormatic Record Changer
AM- Albums: For playing with this style automatic changer, Victor offered a new Musical Masterpiece
album with records sequenced as follows (using the example of a four disc album):
Record 1 contained sides 1 and 5
Record 2 contained sides 2 and 6
Record 3 contained sides 3 and 7
Record 4 contained sides 4 and 8
After playing sides 1 through 4, the listener would turn over the entire stack of records to continue
playing sides 5 through 8. These albums used the prefix AM-.
DM- Albums: In the late 1930s, Victor and other manufacturers introduced the
drop style automatic record
changer in which records would drop down onto the turntable, one by one. This required
a new Musical Masterpiece album with records sequenced as follows (again using the example of a
four disc album):
Record 1 contained sides 1 and 8
Record 2 contained sides 2 and 7
Record 3 contained sides 3 and 6
Record 4 contained sides 4 and 5
Again, after playing sides 1 through 4, the listener would turn over the entire stack
to continue with sides 5 through 8. These albums used the prefix DM-.
Not all Victor multiple disc albums were issued in all three formats, but collectors
will frequently find one of these versions for sale.
Footnotes
1 Harry O. Sooy In his memoires states: "...December
8th, 1924: After considerable work remodeling the 5th floor, Building
#15, for an additional Recording Room for the Laboratory, we made our
first records of the Philadelphia Orchestra in this studio on this
date..." You can read of my analysis of where these
recordings were made by clicking on
Installation of Electrical Recording Equipment in Victor Building number 15, Camden
.
2 page 102. Smith, William Ander.
The Mystery of Leopold Stokowski Fairleigh Dickinson University
Press. New Jersey 1990. ISBN-13: 978-0838633625 I have been asked
if others did not orchestrate the pieces such as the Frescobaldi or
Palestrina. 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 it was by Friedrich Witt (1770-1837). However,
the Frescobaldi and Palestrina orchestrations were by Stokowski.
3Discography of American Historical Recordings.
compiled by the University of California, Santa Barbara. accessed at their
website: http://adp.library.ucsb.edu/
4 Kaplan, Richard. The Philadelphia Orchestra - An Annotated Discography.
Rowman & Littlefield. London. 2015. ISBN 978-1-4422-3915-9.
5
Information on the Victor VE 10-50 accessed in 2016 at the excellent Victor-Victrola-Page at
http://www.victor-victrola.com/10-50.htm
6
Bolig, John R. The Victor Discography: Special Labels, 1928-1941.
Mainspring Press. Denver, Colorado 2014. ISBN # 978-0-0991529-0-8.6>
7
Storch, Laila. Marcel Tabuteau "How Do You Expect to Play the Oboe
If You Can't Peel a Mushroom?". Indiana University Press.
Bloomington, Indiana. 2008. ISBN-13 978-0-253-34949-1.
8
Page 12"Christ Cited by Stokowski in Defending Internationale".
Detroit Free Press. Detroit, Michigan. 27 January 1934.
9
Page 290. Martland, Peter. Recording History: The British Record Industry 1888-1931.
Scarecrow Press. Rowman & Littlefield. Lanham, Maryland. 2012.
10
pp 38-42. Mason, Mark. American Multinationals and Japan: The Political Economy of
Japanese Capital Controls, 1899-1980. Harvard University Press.
Cambridge, Massachusetts. 1992. ISBN-13: 9780674026308
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
Note on listening to the Stokowski recordings
The recordings in this site are files in mp3 format (128 mbps) encoded from
my collection. Links to the mp3 files are located in two places:
Second - in the Chronological Discography page. For example,
links to a 1926 recording are also found in the electrical recordings
chronological discography page: Chronological Discography of
Electrical Recordings This page lists all the electrical
recordings from 1925 to 1940 made by the Philadelphia Orchestra
conducted by Leopold Stokowski and issued by Victor, including of course
the 1926 recordings.
The mp3 files in this site are (usually) encoded at 128 mbps. This
means that the files are of different sizes, according to the length of
the music. For example, the second electrical recording, the April
29, 1925 Borodin ‘Polovetzki Dances’ is small (3.6MB). In
contrast, the 1929 Le Sacre du Printemps file is large.
Le Sacre du Printemps part 1 is 14MB and Le Sacre du Printemps
part 2 is 16MB.
This means that a large file will take a longer time to download, depending
on your internet connection speed. Please keep this in mind when
you click to listen to - download a particularly music file. You
may click the link to the music file, but need to wait a number of
seconds or even minutes to listen to the file.
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