Other licensed material includes his 'Phase-4-Stereo' Czech Philharmonic performance of Elgar's Enigma Variations, coupled with a wonderful LSO Brahms 1st Symphony and the aforementioned Mendelssohn 'Italian' coupled with an equally wonderful Brahms 2nd, licensed from Sony. There are two CDs of opera highlights: 'Boris Godunov' with Rossi-Lemeni, as well as 'Samson and Delilah' with Rise Stevens and Jan Peerce, both from the 1950s. They chose only his best performances, ranging from early electric 78rpm recordings, some never issued at the time, transferred by Ward Marston and Mark Obert-Thorn, with the Philadelphia Orchestra, NBC Symphony, All-American Youth, New York City Symphony and Hollywood Bowl Symphony.Īll Stokowski's New York Philharmonic recordings from 1947-49 were released on Cala, taken from the original Columbia masters, Vaughan Williams's 6th Symphony among them (its first recording). But my Stokowski collection is far from a "completist's dream", and my knowledge is exceeded by that of Stokowski enthusiast Don Tait-who has been a member of this group.Ĭlick the link below and check out the Stokowski Society's 35 releases on the Cala label. I have this first recording from 1917, and an ample smattering of Stokowski's records all the way up to his last Lp of Mendelssohn's "Italian" Symphony in 1977. Starting with the Brahms Hungarian Dance N.5 in Oct 1917, his recordings on the Victor Red Seal label extended to 1940. Multichannel, the recording is also available on a hybrid SACD (NaxosĦ.110101), with three separate layers: 5.0-channel Surround, 2-channelĭSD, and regular CD stereo as we have here.> I would only add the correction that though Stokowski began conducting the Philadelphia Orchestra in live concerts in 1912, he first conducted them in recordings in 1917. Incidentally, for those listeners wanting to hear this music in Of Boris Godunov, Tchaikovsky's Humoresque and Solitude, and,Įspecially, Stokowski's own Traditional Slavic Christmas Music. I mustĪdmit that the less-known pieces come off best, the Symphonic Synthesis Transient impact and deep bass the music requires. While it is quite natural and well balanced, it's also aīit wispy, distant, and blurred. If Serebrier's was trying further to glamorize Stokowski'sĪrrangements or to tone them down, but the interpretations lack zip,Įxcitement they don't evoke the same magic as even StokowskiĪs I say, Naxos's sound doesn't help the situation much,Įither. Or Muti (EMI) it's colorful, powerful, riveting. Hands, it seems only to limp along, whereas, say, with Reiner (RCA/JVC) Take Pictures at an Exhibition, for example. Naxos's soft sound, and the results do not exactly sparkle. Soft arrangements with conductor Serebrier's soft readings and Rimsky-Korsakov's and Ravel's orchestrations more pointed and Mountain and Pictures, where I have always thought Romanticized than the originals and this certainly applies to Bare I have usually found them softer and more I have personally never cared overmuch for Stokowski's Instead, we have as the centerpieces ofĪlbum Mussorgsky's Night on Bare Mountain and Pictures at an Most of these transcriptions were of piano and organ pieces, like theĬonductor's celebrated revision of Bach's Toccata and Fugue or Jose Serebrier, BournemouthĪs we know, Leopold Stokowski was not only a popular conductor, heĪlso a tireless transcriber of some two hundred works for orchestra. Pictures at an Exhibition īoris Godunov Night on Bare Mountain. Pictures at an Exhibition Boris Godunov Night on Bare Mountain. APA style: Mussorgsky-Stokowski: Transcriptions.Pictures at an Exhibition Boris Godunov Night on Bare Mountain." Retrieved from Pictures at an Exhibition Boris Godunov Night on Bare Mountain." The Free Library. MLA style: "Mussorgsky-Stokowski: Transcriptions.
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