{"product_id":"stokowski-acoustic-volume-1-1917-24-pasc192","title":"STOKOWSKI Acoustic, Volume 1 (1917-24) - PASC192","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAVINSKY\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cb\u003e \u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eFirebird Suite\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cb\u003e \u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eOverture to 'Tannhäuser'\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS, GRIEG, MOZART, WEBER, BEETHOVEN\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eTHOMAS, RIMSKY-KORSAKOV, GOUNOD, LIADOV\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1917-1924\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 70:37 \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Philadelphia Orchestra\u003c\/span\u003e\u003cbr\u003e \u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLeopold Stokowski \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fOf considerable interest for Stokowski admirers and those who are interested in the history of recording578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eSure enough, in the same mail that brought me that\nCala finale was a CD titled “Stokowski—Acoustic, Volume One.” I am not\nclear on whether it is merely the first volume of his acoustic\nrecordings or the first volume of a complete Stokowski series or\nsomething in between. Time will tell. Why do people continue to exhume\nthese sonic antiques? A respect for history? Admirable sentiment. A\ndesire to milk every last decibel and frequency wave from those hissing\nshellac grooves? Equally admirable. Stokowski, who began his\nPhiladelphia career in 1912, had initially resisted making recordings\nbecause he found them too primitive. Then, he changed his mind,\nexplaining, “I thought to myself: how stupid of you! You should record\nthis way and although it is bad and you should try to make better\nmethods of recording. . . . Then I tried to find better methods of\nrecording and very slowly they were made better but the first records\nwere made in 1917 and I’ve forgotten what they were. I’m glad I have\nbecause they were awful.” \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n\u003cspan class=\"TIMES\"\u003eStokowski’s early recordings were made in the\nauditorium of the New Office Building in Camden. I think some later ones\nwere made in a Camden church. In those days, as many players as could\nbe accommodated were squeezed under a huge wooden horn. One source\nclaims that 90 Philadelphia Orchestra players made it under the horn. I\nsimply do not believe it. The orchestra sounds skimpy and brassy in the\nBrahms \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHungarian Dances\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nNos. 5 and 6. I have read that, of the 450 acoustic sides he recorded,\nhe only approved 66. The selections on the CD are presented in\nchronological order of recording (skipping a few) so that one can\nactually hear a slight improvement by the time one arrives in 1924 for\nhis first of his eight recordings of the 1919 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFirebird \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eSuite\n(I believe this is the record for one conductor recording the same\npiece), which Stravinsky had only assembled five years before the\nrecording. He cuts part of the finale, presumably to get the Suite onto\nfour sides. He also streamlines Felix Weingartner’s orchestration of\nWeber’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eInvitation to the Dance\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\nomitting repeats. Among the steps Stokowski took to try to improve the\nsound was shuffling the players around for better balance and having the\nhorns face away from him so that the bells of the instrument would face\nthe front. He changed the orchestration of some music, having the\nwoodwinds and brasses double some strings in the lower registers. You\ncan hear tuba or bass saxophone replacing double basses on some\nrecordings. He also tried various acoustic baffles to reflect the sound\nmore. He must have felt somewhat relieved in 1925, when electrical\nrecording came along, although Victor, at first, didn’t quite know what\nto do with it, continuing to record a reduced Philadelphia Orchestra in\nthe company’s dead Trinity Church studio in Camden, and substituting a\nbass saxophone for the double basses and a contrabassoon for the\ntimpani! By 1926, Victor’s engineers had gotten the message and the full\norchestra began recording at the Academy of Music without any changes\nin the orchestration. Stokowski may have thought that some of these\nearly efforts were “awful,” but they may prove to be of considerable\ninterest for Stokowski admirers and those who are interested in the\nhistory of recording, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eper se. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESi\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJames Miller \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cdiv id=\"dateBlockDiv\"\u003e\n\u003ch4\u003e\n\u003cspan style=\"font-size: 12px;\"\u003eThis article originally appeared in Issue 33:4 (Mar\/Apr 2010) of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003eFanfare\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 12px;\"\u003e Magazine.\u003c\/span\u003e\n\u003c\/h4\u003e\n\n\u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC192.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eAll the acoustic recordings Stokowski made only once\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003ePlus his first Firebird Suite - in astonishing XR-remastered sound quality\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eStokowski made his first recordings with the Philadelphia Orchestra in 1917 though, as Edward Johnson has noted, \"between 1917 and 1924, they made an estimated 450 acoustic recordings, but the old method of playing into a large horn gave a very poor representation of orchestral sound, and of all their acoustic discs, only 60 or so were actually issued...\"\u003c\/p\u003e\n\u003cp class=\"body\"\u003eIndeed, Stokowski's very first acoustic recordings were never released - his first attempts at the two Brahms Hungarian Dances included here were recorded on 22nd October, 1917, together with two works by Tchaikovsky. All four recordings were remade - in the case of the Brahms, just two days later, to become the first released recordings conducted by Stokowski.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eIt is indeed true, as Edward Johnson states, that in their 'natural' state, acoustic recordings made a pretty poor job of capturing anything much - though HMV's legendary producer Fred Gaisberg always had an affectionate soft spot for the way they captured the human voice. It has become a generalisation to state that the recordings captured little below 200Hz, and perhaps little above 2500Hz, or perhaps 3000Hz at a push.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eHowever, as these recordings demonstrate, this was not necessarily the case - though it often takes the kind of advanced restoration processing that Pristine's XR remastering brings to these recordings to uncover the real range and quality of acoustic recordings. In the case, for example, of the first recording on this collection, there's a full bass going down to (and possibly below) 70Hz - a frequency extension of almost two octaves over the accepted lower limits. Meanwhile, throughout the recording one can clearly hear string harmonics in the 3500-4000Hz range, and where the brass plays at full volume there's genuine audio content up at (and beyond) 5kHz, which is not far off the upper end of electrical recordings.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eIn order to hear these extremes it has been necessary first to dramatically re-equalise sound that has been highly coloured and harmonically distorted by the horn it was recorded through. This therefore comprises the first stage of the XR process in this context. Secondly we then have to apply highly selective, targeted noise reduction to those frequencies which have received what has often been a quite enormous level boost, rooting out the noise and leaving as much of the actual recorded audio intact.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe results of this are genuinely astonishing - even more so when the records were slowed down to concert pitch (apparently it was common for Victor to deliberately record at below 78rpm so that their records sounded brighter when played back at their stated speed). The majority were out by up to a full semitone (though some were considerably closer to true concert pitch), and the correction of this adds further depth and authenticity to the instrumental sound, as well as giving a much more sensible idea of Stokowski's tempi.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe recordings here, ordered by date of recording, include every piece (or version) that Stokowski only recorded once and in the acoustic era. It was astonishing to learn that his later studio recordings included neither Mozart's \u003cem\u003e40th Symphony\u003c\/em\u003e nor Beethoven's \u003cem\u003eEighth\u003c\/em\u003e, and that as a result the movements here represent his only studio-recorded comments on these major works. Meanwhile the Dresden version of Wagner's \u003cem\u003eTannhäuser Overture\u003c\/em\u003e was replaced by the later Paris version in all his subsequent recordings.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eFinally, I decided to add one work which Stokowski recorded more than any other conductor - Stravinsky's \u003cem\u003eFirebird Suite\u003c\/em\u003e, in a rare acoustic recording which was made right at the end of the acoustic era, and was swiftly remade in front of a microphone. Like many of the recordings in this collection, it has never been reissued on vinyl or CD.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThese XR-remastered recordings probably serve to knock about ten years off the perceived age of many of these recordings (though they won't of course disguise the substitution of tubas for double basses) - and these remarkable recordings can be enjoyed as if they were recorded in the early days of electrical recordings, rather than the dying days of the acoustic horn - albeit with at times slightly higher surface noise.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBRAHMS\u003c\/strong\u003e Hungarian Dance No. 5 in G minor\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e (2:53)\u003cbr\u003e Recorded 24\/10\/1917, first issued as Victor 64752, Matrix B-20888-3\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBRAHMS\u003c\/strong\u003e Hungarian Dance No. 6 in D\u003c\/span\u003e (3:05)\u003cbr\u003e Recorded 24\/10\/1917, first issued as Victor 64753, Matrix B-20889-2\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eGRIEG\u003c\/strong\u003e Anitra's Dance from 'Peer Gynt' Suite No. 1, Op.46\u003c\/span\u003e (3:11)\u003cbr\u003e Recorded 8\/11\/1917, first issued as Victor 64768, Matrix B-21067-2\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e \u003cstrong\u003eMOZART\u003c\/strong\u003e 3. Menuetto, Symphony No. 40 in G minor, K550\u003c\/span\u003e (4:00)\u003cbr\u003e Recorded 9\/5\/1919, first issued as Victor 74609, Matrix C-22813-6\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eWEBER\u003c\/strong\u003e Invitation to the Dance, J260 (arr. Weingartner) \u003c\/span\u003e(4:45)\u003cbr\u003e Recorded 9\/5\/1919, first issued as Victor 74598, Matrix C-22821-2\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBEETHOVEN\u003c\/strong\u003e 2. Allegretto Scherzando, Symphony No. 8 in F, Op. 93 (\u003c\/span\u003e4:06)\u003cbr\u003e Recorded 20\/5\/1920, first issued as Victor 74661, Matrix C-24127-3\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eWAGNER\u003c\/strong\u003e Overture to 'Tannhäuser' (Dresden version)\u003c\/span\u003e (13:03)\u003cbr\u003e Recorded 7\/11 \u0026amp; 5\/12\/1921, first issued as Victor 74758, 74759, 74768\u003cbr\u003e Matrices C-22808-10, 22814-7, 24999-2\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eSTRAVINSKY\u003c\/strong\u003e Fireworks, Op. 4\u003c\/span\u003e (3:35)\u003cbr\u003e Recorded 6\/11\/1922, first issued as Victor 1112, Matrix B-27064-2\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eTHOMAS\u003c\/strong\u003e Gavotte from 'Mignon'\u003c\/span\u003e (1:54)\u003cbr\u003e Recorded 6\/3\/1923, first issued as Victor 66172, Matrix B-27982-1\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eRIMSKY-KORSAKOV\u003c\/strong\u003e Dance of the Tumblers from 'Snow Maiden'\u003c\/span\u003e (3:43)\u003cbr\u003e Recorded 19\/3\/1923, first issued as Victor 74849, Matrix C-27938-1\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eGOUNOD\u003c\/strong\u003e Waltz from 'Faust' \u003c\/span\u003e(3:07)\u003cbr\u003e Recorded 1\/5\/1923, first issued as Victor 66171, Matrix B-27099-8\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eWAGNER\u003c\/strong\u003e Festive March from 'Tannhäuser'\u003c\/span\u003e (4:18)\u003cbr\u003e Recorded 28\/4\/1924 first issued as Victor 6478, Matrix C-29051-6\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eSTRAVINSKY\u003c\/strong\u003e Firebird Suite\u003c\/span\u003e (16:02)\u003cbr\u003e Recorded 13\/10\/1924, first issued as Victor 6492\/3 \u003cbr\u003e Matrices C-30992-3, 30993-3, 30994-2, 30995-3\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eLIADOV\u003c\/strong\u003e Dance of the Amazon, Op. 65\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e (2:37)\u003cbr\u003e Recorded 13\/10\/1924, first issued as Victor 1112, Matrix B-31263-2\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003eThe Philadelphia Orchestra\u003cbr\u003e conducted by Leopold Stokowski \u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eTransfers by Edward Johnson\u003cbr\u003e Restoration and XR remastering by Andrew Rose, September 2009\u003cbr\u003e Cover artwork based on a photograph of Leopold Stokowski\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 70:37 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