The following is a "complete" discography of all CDs with music by Leopold Stokowski. I always use the word "complete" with some trepidation. First, there are always new releases by small companies (in addition to the major labels) that filter across the Atlantic or Pacific. Second, to my knowledge there is only one CD we have not acquired and I am told it included the Lalo Symphonie Espagnole with Jacques Thibaud. It was coupled with a non-Stokowski performance and that is all I know. If anyone has a copy I'd love to add it to our archive. Third, while I have a lot of contacts that keep me abreast of these matters, there are always items people find that have escaped me. If anyone can add to this list, please let me know.

I have rated the releases according to a normal four-star system to let you know which ones are worth seeking out. My evaluations are also discussed where possible. Generally a three-star rating indicates that the release is excellent but may appeal mainly to those of us who appreciate Stokowski. In a select few cases I have awarded a five-star rating.

There are some CDs listed which are no longer available unless you run across them in cut-out bins. I have maintained these on the list because you might run across them and want to know how valuable they are (in a musical sense).

Finally, we would be happy to make cassette transfers for interested parties at a cost of $12.00 per tape. I will make one CD per cassette. This offer does not extend to commercially, generally available discs.

I have begun dating entries after the initial printing of this. Dates begin in December of 1995 and are noted at the end of the specific entry. I have labeled entries made in the latest edition of this CDiscography with a sign.

Revised April 2007

Table of Contents
AS&V LIVING ERA CLASSICS ANDANTE COLLECTION ARCHIPEL ARCHIVE DOCUMENTS AVID BBC BBC RADIO CLASSICS BELLAVOCE BESCOL BIDDULPH BOSTON RECORDS BUENA VISTA CALA CAMEO CLASSICS CHICAGO SYMPHONY ORCHESTRA CITADEL CLASSICA D'ORO CRI DISQUES REFRAIN DUTTON LABS EMI EVEREST GLOBE IMP/BBC INTAGLIO IRON NEEDLE	LINCOLN CENTER FOR THE PERFORMING ARTS LONDON/DECCA LONDON "PHASE FOUR" LSSA & Stokowski Society in England MAESTRO CELEBRE MCA METROPOLITAN OPERA MUSIC & ARTS NEW YORK PHILHARMONIC ORCHESTRA PEARL PENTATONE PHILADELPHIA ORCHESTRA PHILIPS PHONOGRAPHE PRICE-LESS/PANTHEON RCA/BMG REDISCOVERY SCORA SMITHSONIAN SONY/CBS TESTAMENT VANGUARD Miscellaneous Private Collections DVD

ACADEMY SOUND & VISION LIVING ERA CLASSICS

Dvorak: Symphony #9 with outline of themes. Brahms: Hungarian Dance #1 (both from 1934) Liszt: Hungarian Rhapsody #2 (1927) Berlioz: Rakoczy March: The Damnation of Faust (1927) Novacek: Perpetuum Mobile (1940). Philadelphia Orchestra. Enescu: Romanian Rhapsody #1 (1947) HIS SO. This is the only release of the 1934 recording from a commercial source. It was issued by the Japanese Stokowski Society but that was obviously taken from an LP. The other items may be on other discs, but this is very good and nobody did the Dvorak better than Stokowski. AJC 8552.

ANDANTE COLLECTION

LEOPOLD STOKOWSKI with the Philadelphia Orchestra and the All-American Youth Orchestra

Disc One:

Rimsky-Korsakov: Schéhérazade ('34)

Borodin: Polovtsian Dances from Prince Igor ('37)

Tchaikovsky: Solitude [trans. Stokowski] ('36)

Disc Two:

Bach/Stokowski: Toccata & Fugue ('27)

Bizet: "L'Arlesienne" selections ('29)

Saint-Saëns: Carnival of the Animals ('29) w/ Olga Barabini & Mary Montgomery piano. William van den Burg, cello.

Tchaikovsky: The Nutcracker ('26)

Disc Three:

Bach/Stokowski: Passacaglia & Fugue ('36)

Liszt: Hungarian Rhapsody [orch. Doppler] ('36)

Sibelius: Swan of Tuonela ('29) Valse Triste ('36)

Scriabin: Poem of Ecstasy & Prometheus-The Poem of Fire Sylvan Levin piano ('32)

Disc Four:

Dvořák: Symphony #9 "From The New World" ('34)

[All of these recordings above were with the Philadelphia Orchestra, as most of you know. The remaining items are with the All-American Youth Orchestra] Strauss: Tod und Verkarlung ('41) Shostakovich Prelude in E-flat Minor (trans. Stokowski) ('40) This is the only time I could hear a difference in the sound. The Columbia discs were among the worst I have heard in this collection, the surface noise significantly higher and the overall sound congested. Guess what? This sounds better than the LSSA/Music & Arts release.

An old friend of mine was a dedicated LP user. I used to go over and he'd put on his LPs and say, "There is more music in those grooves than we heard before." What Andante has managed to do is get 'more music from the grooves'. The bottom line is that without exception every single recording in this set is better than any previous release.

I should mention that this is the first 'commercial' compact disc release of the 1934 Dvořák 9th. The sound here has a nice inner depth and the bass line sounds like a wall of double basses. This is also the case in the 1934 Schéhérazade, which happens to be my favorite recording by Stokowski (or anyone). The interpretation has a sweep, portamento that swoons… it sounds like he was planning to use it in Fantasia (Fan-ta-sia as Stokowski pronounced it). The Tod und Verkarlung is just damn fine. Recently I received the Naxos release of Mengelberg's Concertgebouw recording of that piece. Comparing the two, Stokowski is much more emotional, the solo violin is touching, poignant. The 1927 Toccata and Fugue sounds much better than its previous incarnation. I do wish they had credited the cellist in the Swan of Tuonela, because his (or her?) playing is just mind-boggling. I could go on.

What you will hear in this set are the finest transfers yet. The sound stage has a depth and spread that is monaural, but more like you would have heard on an LP instead of 78s. It is so good that at times I wondered if a stereo effect had been added. I chatted with Mark Obert-Thorn about this and he tells me that there is no fake stereo. Another point about the sound is the consistency between pieces regardless of when they were recorded. There is no sudden shift that would indicate a significant change in the dates.The four discs come in a handsome, black booklet package. There are excellent essays from Tim Page and Jed Distler. The only error I could find is Page's assertion that "By 1932, Stokowski had made hours of experimental stereo recordings for RCA." Stokowski did make some experimental LPs for RCA, but the stereo experiments were for Bell Labs. The rest of his essay is about Stokowski's music making. Distler focuses more on the recording process Stokowski was involved in and the particular items on these discs. The booklet is full of wonderful photos of the Maestro.

Okay, that is all the good news. The bad news is that the discs cost $19.00 each if you include shipping. I would argue that it is well worth the price because you are going to appreciate these recordings more than ever before, however, I did remove a half star in the ratings. Andante 2985

Leopold Stokowski Conducts the Philadelphia Orchestra: 1927-40

• Disc One
• Schoenberg: Gurrelieder Part One (1932)
• Disc Two
• Schoenberg: Gurrelieder Part Two
• Dubensky: The Raven (1932)
• Hindemith: Kammermusik #2 (1932)
• Disc Three
• Rimsky-Korsakov: The Maid of Pskov (Hunt and Storm) 1939
• Mussorgsky: Khovantschina (Entr'acte from Act 4) 1927
• Mussorgsky/Stokowski: Boris Godunov (Symphonic Synthesis) 1936
• Glière:
• Symphony #3 "Ilya Murometz" 1940
• The Red Poppy: Russian Sailors' Dance (1934)
• Disc Four
• Debussy:
• Prelude to the Afternoon of a Faun (1927 and 1940)
• Nocturnes (1937/39)
• Danses Sacred and Profane (1931)
• Ravel: Rapsodie espagnole (1934)

Lots of music here. The transfers are very good. There is greater clarity and separation of instrumental sections. In particular I noticed how much more detailed and sweet sounding were the birdcalls in the Glière. We forget how much we owe to Stokowski for introducing new music on record. The Hindemith was never released and this is the first release on CD of the 1927 Prelude to the Afternoon of a Faun. The reservations I have concern the menu. I would have preferred things other than the Schoenberg or Hindemith and the Dubensky is, frankly, not very good music. This is for compleatists. Now you know what I am. Andante 4978

Wagner - The Philadelphia Orchestra Recordings

• Disc One
• A. Rienzi: Overture ( 18 November 1926 & 6 January 1927 )
• B. Lohengrin: Prelude to Act 1 ( 13 October 1927 )
• C. Lohengrin: Prelude to Act 3 ( 27 March 1940 )
• D. Das Rheingold: Symphonic Synthesis ( 4 March 1933 )
• 4. Prelude: "Song of the Rheinmaidens"
• 5. "Alberich Steals the Gold"
• 6. "Wotan and Loge Descend into Nibelheim"
• 7. "Erda's Warning"
• 8. "Entrance of the Gods Into Valhalla "
• E. Die Walkure: Excerpts ( 30 April 1934 )
• 9. "Siegmund Comforts Sieglinde"
• 10. "Ride of the Valkyries"
• 11. "Brunnhilde Pleads Before Wotan"
• 12. "Wotan's Farewell & Magic Fire Music"
• Disc Two
• A. Die Walkure: "Magic Fire Music" Orchestral Version ( 9 April 1939 )
• B. Siegfried: Excerpts ( 10 December 1934 )
• 2. "The Wanderer Questions Mime"
• 3. "Nothung! Nothung!"
• 4. " Forest Murmurs"
• 5. Act III Finale
  Agnes Davis (Soprano track 5) Frederick Jegel (Tenor tracks 3 and 5)
• C. Gotterdammerung: Excerpts (25 March, 29 April & 28 October 1933 )
• 6. "Dawn and Siegfried's Rhine Journey"
• 7. "Siegfried's Death and Funeral Music"
• 8. Brunnhilde's Immolation and Finale
  Agnes Davis (Soprano track 8)
• D. Gotterdammerung: Finale ( 6 January 1927 )
• Disc Three
• A. Tannhauser: Overture & "Venusberg Music" ( Paris version: 23 September 1929, 14 March & 19 April 1930 )
• B. Tannhauser: Overture & "Venusberg" Music (Paris version: 12 December 1937) w. Chorus of 17 female voices.
• C. Tannhauser: Prelude to Act III arranged by Stokowski ( 15 January 1936 )
• D. Tannhauser: Overture (Dresden version: 7 November & 5 December 1921)
• E. Tannhauser: Fest March "Entry of the Guests" ( 28 April 1924 )
• Disc Four
• A. Tristan und Isolde: Symphonic Synthesis (First version: 16 & 23 April 1932)
• Prelude to Act I
• Potion Music
• "Liebesnacht"; "Liebestod"
• B. Tristan und Isolde: Symphonic Synthesis (Second version: 5 April & 7 November 1937)
• Prelude to Act I
• "Liebesnacht" & Act III Finale
• "Liebestod"
• Disc Five
• A. Wesendonck Lieder: selections ( 22 December 1940; Helen Traubel: soprano)
• III: "Im Treibhaus"
• V: "Traume"
• IV: "Schmerzen"
• B. Die Meistersinger von Nürnberg: Prelude to Act I ( 15 January 1936 )
• C. Die Meistersinger von Nürnberg: Prelude to Act III ( 17 March 1931 )
• D. Parsifal: Prelude to Act I ( 28 November 1936 )
• E. Parsifal: Act III: "Good Friday Spell" ( 28 November 1936 )
• F. Parsifal: Symphonic Synthesis from Act III (2 & 7 April 1934 )

All recordings with the Philadelphia Orchestra. The list of contents here will exceed the length of this commentary. With the exception of the acoustic recordings all of this material has already been issued on Pearl . The transfers were made by the same genius, Mark Obert-Thorn. It is very interesting to compare and contrast the two. This Andante set is superior in every way. Inner detail, solos are clear and distinct whereas in the previous releases they were distant to the point of being damn near non-existent. There is a better sound stage, back to front perspective. I found it particularly interesting to listen to the two different recordings of the Tristan und Isolde Symphonic Syntheses. The latter sounds significantly better no doubt due to improvements in "meek-ro-phones". Add the fact that nobody did Wagner better than Stokowski. Whilst it is true that what you will hear is more like one from the 19^th Century it is perhaps sad that we don't get this kind of music-making any longer. A must have. Andante 1130

ARCHIPEL

News of this label arrived to me via an email from a member of the Leopold Stokowski Club. He wrote to ask if the Bach release was the same as that on RCA some years earlier, with notes by yours truly. I happened to find a copy at Borders one day and picked it up. Sure enough the contents were the same with only a change in the order of a couple of items. Since then another Stokowski release has been made. I cannot find any information about the label nor the sources of their transfers. I can say that there are no insert notes at all and so have offered more detail than usual in these entries to the CDiscography.

Bach: Toccata & Fugue; Chaconne from Partita #2; Jesu, Joy of Man's Desiring; We all believe in one God, Giant Fugue; Sheep May Safely Graze; Fugue; Bouree, from English Suite; Come Sweet Death; Prelude in B minor; Chorale from Easter Oratorio. HIS Symphony Orchestra. 1947 & 50. MONO. Yes, five stars! Basically they have recapitulated the RCA CD released in 1992. They have changed the order of two of the pieces but that is the only difference. I was first alerted to this release from a member of the LSSA. I found a copy in Borders and bought it out of curiosity. I was skeptical since there have been so many bad remasterings out lately (see Maestro Celebre below) but was more than just slightly surprised. The sound is significantly improved with more air around the music and a back-to-front perspective. Some reverb has also been added. There is clarity here and surface noise is gone. Seek this out. Archipel 56

Brahms: Symphonies #2 and #4 Philadelphia Orchestra 1929 & 33. These recordings were issued on Biddulph WHL 17-18. The recording of the 2^nd is probably the most interesting, as it is almost tragic in nature. This is contrary to every other interpretation I know but it is perfectly within the logic of the music and proves that music is not just black notes on white paper. The sound here is significantly better than the Pearl set. It is cleaner, has more of a back-to-front perspective and a clearer bass line. The 4^th Symphony is also a better transfer but the recording itself compromises the sound. It was made in the depression and they used smaller forces to cut costs. Microphones were place closer to the players to achieve a fuller sound but it didn't work then. Later Stokowski would be able to play with the sound to achieve that larger sound. I commented in the earlier posting that the set was the first complete Brahms cycle and remains one of the best ever. My opinion has not changed. Archipel 59

Tchaikovsky: Symphony #5; NDR Symphony Orchestra (July 1952) Roméo & Juliet; The Hague Residence Orchestra (June 1951). The symphony was previously released on Frequenz. This release has a significantly better sound, so much so that it changes the whole listening experience. The live performances are riveting and the sound excellent. Get a copy. Archipel 87

Tchaikovsky: Symphony #6 "Pathetique"Hollywood Bowl Symphony Orchestra 1945, Nutcracker Suite, Philadelphia Orchestra 1934. These two works have previously been released on CALA (506 & 521) and the "Pathetique" was also released on Pearl . Whoever is in charge of transfers there does a very good job. Added reverberation is not the only difference. There is also a better orchestral depth and spread to the sound. If you have the CALA this addition is worth it since the sound is very different. If you don't have the CALA get them too for an educational experience. I do wish that Archipel could at least be consistent in spelling Stokowski. In this disc it is with a "V". As usual there are no notes. Archipel 95

Mahler: Symphony #8 "Symphony of a Thousand" NYPO. Monaural 6.4.1950. Frances Yeend, Soprano; Camilla William, Soprano; Uta Graf, Soprano; Martha Lipton, Mezzo-soprano; Eugene Conley, Tenor; George London, Bass; Carlos Alexander, Baritone. NYPO. Stokowski conducted the US premiere of the "Symphony of a Thousand" in Philadelphia and then took the whole thing to New York . He had been at the world premiere and watched Mahler rehearse it. He was originally going to perform it in London however they did the "Resurrection" instead. This performance has been released on Music and Arts (NLA) and in a mega-disc set from the NYPO. The sound on the NYPO release is thin, there is no bass line and reverberation is nil. This Archipel disc is much, much better. As mentioned elsewhere they add the all-important reverberation and have brought out the bass line. So, this is a definite need for your collection as it represents the work in a form probably very much like Stokowski heard it in Vienna. No notes come with the disc. Archipel 108

ARCHIVE DOCUMENTS

Grieg: Piano Concerto [Percy Grainger] Grainger: In a Nutshell: Suite; Danish Folk-Music: Suite. Hollywood Bowl Symphony Orchestra. 15 July 1945. Mono. These are all from a live concert and the Concerto and "In a Nutshell" items have been previously released on Biddulph 41. The sound difference is significant. While it is still not audiophile, the orchestra no longer sounds like a bunch of kazoos. In fact, the whole thing is much more listenable, the piano in particular being warm and melodic. If you have loved this performance of the Grieg you will really appreciate this release. Apparently this was issued in 1998, I found it in a Border's Book Store in Ann Arbor. I hesitated buying an unknown recording but am happy to report that you will like this very much. Archive 2003.

AVID

Prokofieff: Peter and the Wolf. Basil Rathbone (narr.) AAYO 1941. Saint-Saëns: Carnival of the Animals. PO 1939. MONO. The transfers here are good, but not outstanding. I confess to not liking the Prokofieff as done by anyone. This disc also contains Britten's Young Person's Guide with Malcom Sargent conducting and Antál Doráti in Bizet's Jeux Enfants. Avid 601.

BBC

Most of these items have been circulated on tapes and "private" discs for years. I know that Stokowski enthusiasts are glad we can now have the performances in excellent sound.

Britten: The Young Person's Guide to the Orchestra; Beethoven: Symphony #7; de Falla: El amor brujo. (Gloria Lane mezzo) 23 July 1963 (Britten and Beethoven) 15 September 1964 (Falla). Mono. BBC Symphony Orchestra. It is damn fine monaural. The Britten and Beethoven start a bit tentatively, but then Stokowski catches fire and the audience responds in kind. The Falla is probably the best Stokowski did. This disc is a must have and not just for Stokowski fans. BBCL 4005.

Scriabin: Le Poeme de l'extase; Berlioz: Symphonie Fantastique; Interview with Deryck Cooke. New Philharmonia Orchestra, 18 June 1968.The disc deserves five stars just for the interview, which is Stokowski's usual hoot. On the other hand, the music is also fantastic!!! Both items are better than the studio recordings he made. The Berlioz, in particular, is more energetic and employs the rubatto that is characteristic of the Maestro and others of his generation. The recorded sound may not be as rich as the Decca recordings but it is stereo and just fine, thanks. No bad audience noise. BBCL 4018

Gabrielli: Sonata pian e forte; Tippett: Concerto for Double String Orchestra; Liszt: Mephisto Waltz; Nielsen: Symphony #6 "Sinfonia semplice" Mono. London Symphony Orchestra, 22 August 1961 (Gabrielli, Tippett, Liszt) 12 September 1965 (Nielsen). The Liszt has always been considered one of the best performances by anyone at any time. The Tippett is another example of Stokowski supporting contemporary music… then, too, so was the Nielsen back when. BBCL 4059

Mussorgsky: Night on Bare Mountain (arr. Stokowski) Glinka: Kamarinskaya; Shostakovich: Prelude in e flat minor (arr. Stokowski) Stravinsky: Pastorale; Tchaikovsky: 1812 Overture; Scriabin: Le Poeme de l'extase; Lyadov: Eight Russian Folk Songs; Borodin: Polovtsian Dance. Stereo. John Aldis Choir, Welsh National Opera Chorus, Band of the Grenadier Guards. Royal Philharmonic Orchestra, 15 June 1969. What a glorious concert!!! Everything on here was recorded by Stokowski, but the excitement of a live occasion seems to have added to everyone's performance. The Scriabin here is not quite as good on the disc mentioned above, but it is still superior to the Decca recording. The 1812 will knock your socks off! This makes for a nice evening of listening. BBCL 4069.

Wagner: Die Meistersinger von Nurnberg (Prelude to Act 1) Die Meistersinger Symphonic Suite (Vorspiel, Prelude to Act 3; Dance of the Apprentices; Entry of the Masters*) Gotterdammerung: Siegfried's Rhine Journey; Funeral March; Immolation Scene** Rienzi Overture. *London Symphony Chorus **Berit Lindholm (sop) London Symphony Orchestra (23 September 1967: Meistersinger; 15 June 1967) New Philharmonia Orchestra (Rienzi, 18 June 1968) The sound on this disc (the Rienzi is stereo, the rest mono) is a bit thin and the violins a tad shrill. The other reservation I have is the soloists… just don't care for her. It is an exciting experience, however, to hear the chorus in the finale of the Meistersinger. Stokowski' Wagner is a thing to behear… but the studio recordings are better. BBCL 4088

Mahler: Symphony #2 "Resurrection" London Symphony Orchestra. Rae Woodland, Soprano; Janet Baker, Contralto. BBC Choral Chorus, BBC Choral Society, Goldsmith's Choral Society, Harrow Choral Society. 30 July 1963. MONO. It may say Mono but the sound is excellent! This is a release for anyone who loves Mahler and the 2^nd Symphony in particular. Stokowski originally asked to perform the "Symphony of a Thousand" but financial problems precluded it. When it was suggested he do the "Resurrection" instead he didn't hesitate. This is the most spiritual performance I have ever heard and I have heard several. The audience was so overwhelmed by the experience that Stokowski broke tradition and played an encore of Whenever I want to hear this piece this one will be the first I consider pulling out. This is a MUST have for any serious collector of classical music. BBCL 4136

BBC RADIO CLASSICS

For some reason I haven't included these discs in this CDiscography until now (2006). They were originally released in 1995 and 1996. Since then, as will be noted, some of the items have been reissued on the BBC Legends series. To my knowledge none of these is currently available.

Klemperer: "Merry Waltz". Vaughan Williams: "Fantasia on a Theme by Thomas Tallis". Ravel: "Rapsodie Espagnole". Brahms: Symphony #4. New Philharmonia Orchestra. These are from a concert on 4 May 1974. Klemperer was better known as a conductor but, as the notes point out, he was a considerable composer whose works include 6 symphonies, choral works, quartets and songs. This concert also came just before Stokowski recorded the Brahms with the same orchestra. Some people find the Brahms a bit too 'allegro" and not enough "non troppo" in the first movement. The sound here is good. At this writing, none of these has been issued on the BBC label. Stereo. BBCRD 9107.

Shostakovich: Symphony #5. LSO: 1964. This symphony has since been issued in better sound, with other Stokowski material, on the BBC series. (BBCL 4165) Coupled with The 1^st Symphony conducted by Jascha Horenstein. BBCRD 9154.

Vaughan Williams: Symphony #8. BBCSO: 1963. As above, this has since been issued in better sound on the BBC label on the same disc as with the Shostakovich listed above. Coupled with the 4^th Symphony conducted by Sir Malcolm Sargent. BBCRD 9131.

BELLAVOCE

Leopold Stokowski conducts the Philadelphia Orchestra 1962-63. Disc One: Wagner: Rienzi Overture. Introduction by Stokowski. Mozart: Le Nozze Di Figaro (Non piu andrai: George London) Borodin: Prince Igor (No rest, no peace: London) Gounod: Faust (I'endormie: London) Puccini: Tosca (Vissi d'arte: Birgit Nilsson) Verdi: Aïda (duet Act 3, Ciel mia padre: London and Nilsson) Wagner: Lohengrin: Prelude to Act I. Wagner: Gotterdammerung (Starke Scheite schichtet mir: Nilsson) 20 January '62. Verdi: La Forza Del Destino: Overture. 26 January 1963. Disc Two: Giordana: Andrea Chenier (Act I "Un di" Franco Corelli) Puccini: Tosca (Recondite Armonia, Corelli) Strauss: Salome (Dance of the Seven Veils) Donizetti: Lucia Di Lammermoor (Mad scene sans cabaetta, Joan Sutherland) Enescu: First Romanian Rhapsody. 22 July 1945. Marina Koshetz w. Stokowski at the Hollywood Bowl. Rimsky-Korsakov: Czar's Bride (Marfa's aria and the Rose and the Nightingale) Mussorgsky: The Fair at Sorotchinski (Parassia's reverie) Rachmaninov: Gregorian Melody. 11 July 1946 Bizet: Carmen Excerpts. I spent more words listing the contents than I shall on the commentary. This disc is not generally available in the US. I got my copy through a friend in the Netherlands. The sound on the Philadelphia items is good FM stereo. What makes these interesting is comparing the two sopranos. Sutherland's voice is much sweeter than Nilsson. If you think all sopranos sound the same, here is your antidote. It is also good to hear Stokowski support singers, there is damn little documentation of those efforts. The first Hollywood Bowl Symphony Orchestra items sound good and the Rachmaninov is pure Stokowski. The Bizet sucks. The sound is terrible. If you can find it and are a Stokowski completist get it. BellaVoce 107 235. (Since reviewing this set I received the Philadelphia Centennial Collection which has some of the vocal items, but not all, in superior sound. Unless you are a completist, I'd suggest you ignore these discs.

BESCOL

Among the many CDs issued from questionable sources BESCOL was the earliest with Stokowski material. This label appeared early in the issue of CDs when people were trying to sell anything, regardless of the quality of the transfers. Among other items there was a Brahms 3^rd with the Houston Symphony Orchestra. The sound on these discs, apparently taken from several generations removed tapes from Everest, was terrible. The interesting thing is that this instance is an example of the haphazard issue of Stokowski CDs over the years. These Everest recordings are a case in point. Originally released on CD by this company, they later appeared on Price-Less and are now on Omega/Vanguard/Everest. The last two incarnations were excellent, with the latest being the best of the lot. If you happen to come across the Bescol discs in a cut-out bin, leave them. [Revised 30/12/95] Two new "avoid" labels are Phonographe and Gramofono. See my commentary under Phonographe. [Another addition to this list is Magic Talent, a Czech issue. See: Pearl, "A Stokowski Fantasia" above.]

BIDDULPH

LEOPOLD STOKOWSKI CONDUCTS RUSSIAN MUSIC (Vol. I) Glière: Symphony #3 "Ilya Murometz" (40) The Red Poppy [Russian Sailors' Dance] (34); Ippolitov-Ivanov: Two Caucasian Sketches; (27) Stravinsky: Firebird Suite (27) MONO Philadelphia Orchestra CDWHL 5 (Transfers by Ward Marston. In my opinion Ward and Mark Obert-Thorn are the best around at this time. I much prefer their work over Michael Dutton's. There is an excellent interview/article about Ward in the Winter 1995 issue of ICRC.

LEOPOLD STOKOWSKI CONDUCTS RUSSIAN MUSIC (VOL. II) RIMSKY-KORSAKOV: Russian Easter Overture (1929) Ivan the Terrible (1939) Schéhérazade (1927) [There is also an added track at the end that contains an alternate 'take' of the First Movement of the Schéhérazade It was recorded in May of 1927 whereas the released recording was made in October of that year. What makes this of particular interest is that the soloist is different and you can tell!!.] MONO Philadelphia Orchestra #WHL 10 (Transfers by Ward Marston)

LEOPOLD STOKOWSKI CONDUCTS MUSIC FROM FRANCE (VOL.I) Franck: Symphony in d, ['35] Andante from Grans Piece Symphonique, ['37] Panis Angelicus ['36]; Satie: Gymnopedies #1 & 2 ['37]; Dukas: Sorcerer's Apprentice ['37]; Thomas: Gavotte from Mignon ['37]; Berlioz: Hungarian March ['27] MONO Phila. WHL 11 The Franck and Satie pieces were once available on an LSSA LP. (Transfers by Mark Obert-Thorn.)

LEOPOLD STOKOWSKI CONDUCTS FRENCH MUSIC (VOL. III) Debussy: Nocturnes('37-39) Prélude à l'après-midi d'un faune [w/Kincaid] (40: Previously unpublished) Danses Sacree et Profane [w/Edna Phillips] ('31) La Cathedrale Engloutie (30) Soiree Dans Grenade ('40 Previously unissued); Ravel: Rapsodie Espagnole ('34) MONO Philadelphia Orchestra (Mark Obert-Thorn)

STOKOWSKI CONDUCTS JOHANNES BRAHMS Symphonies #1-4 [rec. 1927, 28, 29, 33] Philadelphia Orchestra MONO #WHL 17-18 (2) This remains one of the finest Brahms cycles ever. It was also the first. Ward Marston's work is revelatory. It is also on 2 discs. The First Symphony disc also includes Stokowski's "commentary" on the themes in the symphony. The pianist in this "talk" is played by Artur Rodzinski, who was an assistant conductor of the Philadelphia Orchestra at that time. (Ward Marston)

LEOPOLD STOKOWSKI CONDUCTS FRENCH MUSIC (VOL.II) Bizet: Carmen Suite [1927] L'Arlesienne Suite #1 ['29] Saint-Saëns: Bacchanale from "Samson et Dalila" ['27] Carnival of the Animals ['29] w/ Olga Barabini & Mary Montgomery (p) MONO. Phila. Biddulph 12 Much of this music was released on an L.S.S.A. LP (Mark Obert-Thorn).

TCHAIKOVSKY Symphony #5 ('34) Solitude ('37) Song Without Words ('28) 1812 Overture ('30) MONO Philalephia Orchestra WHL 15 [Trans. Ward Marston] (You know, the finale of the Tchaikovsky 5^th opens the film 100 Men and a Girl. In that scene you see a bright eyed young man in the audience following along with a score. I have always wondered what he would have looked like when the coda comes sans pause.)

Dvořák Symphony #9 ('27) Outline of Themes (Rodzinski, p.) Liszt: Hungarian Rhapsody #2 ('27) Chopin: Mazurka in B-Flt Minor & A Minor, Prelude in D Minor ('37) MONO Philadelphia Orchestra WHL 27 [Trans. Ward Marston] Nobody plays the Dvořák better than Stokowski. While I prefer the M&A/LSSA AAYO release, this one is excellent.

BEETHOVEN: Symphony #7 Schubert: Symphony #8 "Unfinished" Rosamunde Music (Two versions, one unissued) Moment Musicale MONO (1927) 33 The Beethoven is one of the finest ever! (Ward Marston outdid himself, if that is possible, in this transfer. The inner detail is wonderful.)

BLOCH: Schelomo. [Emanuel Feurmann] Philadelphia Orchestra (27 March 1940) Mark Obert-Thorn remastering. Biddulph 42. [This is coupled with Feurmann and Ormandy in Strauss' Don Quixote. That is one of the finest performances I know. The Don is earthy and tangible in Feurmann's bow. The orchestra is still Stokowski's]

The Leopold Stokowski "Pops" Collection Weber: Invitation to the Dance ('27). Brahms: Minuet from Serenade #1 ('34). Strauss: On The Beautiful Blue Danube ('26). Tales from the Vienna Woods ('26). Tchaikovsky: Nutcracker Suite ('26). Sibelius: Finlandia ('30). Swan of Tuonela ('29). Novacek: Perpetuum Mobile [arr: Stokowski] ('40). Albeniz: Festival in Seville from Ibéria ('28). De Falla: Danse Espagnole from La Vida Breve ('28). Philadelphia Orchestra. MONO. There's a lot of lovely stuff in here, and the playing is typical Philadelphia Stokowski (great) but the selections may limit this discs appeal. Biddulph WHL 47.

Rachmaninoff: Piano Concerto #2. Sergi Rachmaninoff. Philadelphia Orchestra. (1929). As explained in the detailed notes by Mrk Obert-Thorn (who also did the remasterings, this is not identical with the previous releases of this on RCA.. Previous ones returned to the original masters for prodution. In fact, however, the original LPs used somewhat different masters, so what you will hear here is what you heard on the LP!! also coupled with the Third Piano Concerto with Horowitz and Albert Coates and the London Symphony Orchestra. The sound here unfortunately changes the whole recording from that on RCA. The whole perspective here is veiled, the piano doesn't sound as natural, The RCA is sharper, making the whole performance more powerful, The extra clarity of the RCA release (now available separately) also makes the recording more involving, The piano filligree at 3:00 into the first movement is delightful and feathery. In this release the effect is veiled and thus loses the poetry. Many of you may have been awaiting the release of the Horowitz Rachy 3. Well, here it is, I am one of those infidels who really never cared all that much for Horobowitz. Sorry. Biddulph LHW 36

Grieg: Piano Concerto (Percy Grainger) "In a Nutshell" Rachmaninoff: Piano Concerto (Artur Rubenstein). Hollywood Bowl Symphony Orchestra. 1945 Concertos, 1946. MONO. The Rachmaninoff was not released for "artistic reasons" in that neither the pianist nor conductor approved. You can tell why. They are often out-of-sync. It almost sounds like they recorded the performances on different dates and spliced them together. The Grieg, on the other hand, is a must have. Biddulph 41.

BOSTON RECORDS

Marcel Tabuteau: excerpts with Leopold Stokowski. This release is, ultimately, frustrating. Whilst it is good to hear Tabuteau it is a real aggravation when the music suddenly stops because he is no longer in the picture (so to speak). The only complete work is the Mozart Sinfonia Concertante, which is already available on CALA 523. Students of the oboe, however, should find this disc a treasure because they can study how one of the masters handled phrasing perhaps the most important aspect of music. . Boston 121

BUENA VISTA

Fantasia: Vol. I: Bach/Stokowski: Toccata & Fugue; Tchaikovsky: Nutcracker Suite; Dukas: Sorcerer's Apprentice; Stravinsky: Rite of Spring; Vol. II: Beethoven: Symphony #6 "Pastoral"; Ponchielli: "Dance of the Hours" from La Gioconda; Mussorgsky/Stokowski: Night on Bald Mountain; Schubert: Ave Maria Philadelphia Orchestra MONO? ('39) [This edition is vastly inferior in sound to the LPs. The Dukas was not recorded with the Philadelphia Orchestra.] (Two discs)

CALA

{Philadelphia Rarities} Arr.Stokowski: Two Ancient Liturgical Melodies; de Falla: Spanish Dance from La Vida Breve; Turina Gypsy Dance; Dubensky: The Raven [Benjamin de Loache]; Konoye: Etenraku; McDonald: Dance of the Workers (from the Festival of the Workers Suite), The Legend of the Arkansas Traveller, Rhumba (from Symphony #2); Eichheim: Japanese Nocturne, Bali; McDonald: Concerto for Two Pianos (Jeanne Behrend & Alexander Kelberine); Sousa: Manhattan Beach, El Capitan. MONO. Phila. [For dates and other info see under LS Society releases. This is the same disc except that the de Falla was added and a new remastering was used. I frankly prefer the sound in the earlier release. This one sounds tubby and gimmicky. The original transfers were by Ward Marston, but CALA people tampered with the sound including replaying the tape at night in a church and re-recording it to add some more reverb.]

{First Releases} Philadelphia Orchestra: Pension Fund Concert: arr. Stokowski: La Marseillaise (de Lisle) Serenade (Schubert) Monaca: Saltarello [27 October 1935] Stokowski: 'Balance Test' March [2 May '27] Foster: Oh, Susannah [1 May '29] Handel: Pastoral Symphony [29 April '29] Strauss: Dance of the Seven Veils [5 April '37] NBC Symphony Orchestra Tchaikovsky: Solitude [11 May '42] Kelly: Sunset Reflections from Adirondack Suite [ 27 Nov. '41] Tchaikovsky: Marche Slav [23 Ap. '42] New York City Symphony Orchestra Scriabin: Étude in C sharp minor [11 Dec. '44] Schubert: Tyrolean Dances [10 Dec. '44] Tchaikovsky: Roméo & Juliet Fantasy Overture. [11 Dec. '44] MONO [All of these pieces were recorded but never released. The sound on this CALA release is significantly better but the items may be of limited interest] CALA 502 (Ward Marston)

Rimsky-Korsakov: Russian Easter Festival Overture. Tchaikovsky: Humoresque (orch. Stokowski) Stravinsky: Firebird Suite Prokofieff: March from The Love for Three Oranges Tchaikovsky: Symphony #4. MONO (Items 1-3 1942, 4-5 1941) NBC Symphony Orchestra [You know, I hate not giving an unqualified recommendation to these Leopold Stokowski Society sponsored CDs. On the other hand I must call them as I see them. The main reason for considering this disc would be the Tchaikovsky Symphony #4. This was the second of three recordings of it by Stokowski. The first, recorded in 1928 with the Philadelphia, is the best of the lot in performance and has a significantly better sound than this disc. The recording was made in the Cosmopolitan Opera House while acoustic improvements, insisted upon by Stokowski, were made to Studio 8-H. The sound here is still dry and dead, not at all like the rich Stokowski we are used to. If you want a Stokowski Tchaikovsky 4^th I'd recommend the American Symphony Orchestra 1971 recording. The "Firebird" Suite (his fourth of eight) here is in much better sound than the Symphony (done in the improved 8-H in 1942) but still not as good as the 1927 version. I also prefer that interpretation. Still, the finest "Firebird" is Stokowski's London Symphony Orchestra performance on Phase Four. The Russian Easter Festival Overture is fascinating in its use of the bass Nicola Moscona chanting what is normally the trombone solo. Still, all-in-all, more for Stokowski fans than the general public. (6/27/96) CALA 505

Tchaikovsky: Symphony #6 "Pathétique" Hollywood Bowl Symphony Orchestra. 25 July 1945. R. Strauss: Death and Transfiguration. New York City Symphony Orchestra. 10 December 1944. MONO. The front cover is a reprpduction from the cover of the 78s of the Tchaikovsky. It is called, Pathétique Study. This is one of my favorite symphonies. but it is very delicate. It can be easilu destroyed by too much or too little emotional involvement. My favorite other than the Stokowski is Furtwängler's pre-war recording. Whereas Furtwängler hears this symphony in symphonic terms, Stokowski sees it in the light of a composer of ballets. You are always aware of the Tchaikovsky ballets when you listen to any of the Stokowski performances. This is one of the best. The sound is excellent, offering a nice sound stage and just the right amount of reverberation. The Strauss is equally well done and another Stokowski gem, In short, recommended for anyone who loves this symphony.
Post Script: After hearing Pearl's CD of the Tchaikovsky "Pathétique" I transferred the 5 Star rating for this disc to the Pearl. CALA 506

Schubert: Symphony #8 Unfinished AAYO 1941. Wagner: Forest Murmurs from Siegfried Hollywood Bowl Symphony Orchestra 1946. Brahms: Symphony #1 Hollywood Bowl Symphony Orchestra 1945. MONO. [This is the best sounding historic recording of the Brahms by Stokowski. While I slightly prefer the performances with the Philadelphia and AAYO, they do not sound as good (see elsewhere). The bass at the opening is staggering, you'd think he was using a dozen of them (and maybe he was). The Wagner is typical Stokowski, that is about the highest compliment I can give. The Schubert, next to the Hollywood Bowl Symphony Orchestra material, sounds more distant or congested. It was taken from laquer 33 1/3 pressings made by Columbia, from which they made the 78s. I acquired these from Jerry Miller, along with several other 'test pressings' as he thought them to be. The surface noise is almost non-existent. It reminds me of Dutton's transfers, but there is more air around the music. CALA 520

Tchaikovsky: Nutcracker: Suite 1934. Ippolitov-Ivanov: In the Manger (trans. Stokowski) 1934. Glazunov: Danse Orientale 1927. Rimsky-Korsakov: Schéhérazade 1934. Philharmonia Orchestra. MONO. Of the many recordings Stokowski made of this piece, this is my personal favorite. The portamento may get to some of you, but I love wallowing in it. It is as if Stokowski was preparing the orchestra to do it for Disney. (Wouldn't that have been wonderful?!) The sound is fantastic. This is also my favorite Nutcracker by anyone. CALA 521

Liszt: "Les Preludes" ( 9 December 1947 ) Sibelius: "The Swan of Tuonela" ( 11 December 1947 : Mitch Miller, Cor Anglais) Tchaikovsky: "The Sleeping Beauty" Highlights (11-14 December 1947) HIS Symphony Orchestra. The Liszt is the best I have ever heard. It is music to wallow in but too much makes it sound like a caricature. Stokowski makes it sound like music. The "Swan" is the most brooding of the several recordings Stokowski made. Stokowski loved the music of Tchaikovsky and this selection of highlights is excellent. The Stokowski Symphony was an ad hoc group of the finest musicians in New York and Stokowski, using tape, transformed it into a magnificent band. CALA 522

Mozart: Sinfonia Concertante [Tabeteau, Portnoy, Schoenbach, Jones: soloists] PO 1940. Beethoven: Symphony #6 Pastoral New York City Symphony Orchestra 1945. MONO. The sound on this disc is excellent. The Mozart is absolutely stunning with the quartet of soloists. The orchestral accompaniment is more controversial. The Adagio is really slow, as is the Scene by the Brook in the Beethoven. Despite these reservations, this is a good disc, you can hardly believe the date of the recording. CALA 523

Elgar: Enigma Variations. Czech Philharmonic 7-8 September 1972. Brahms: Symphony #1 London Symphony Orchestra 15 June 1972. The Brahms was taken from Stokowski's 60^th Anniversary Concert. He repeated the exact program he conducted in 1912. This sounds much better than a Japanese release of the same piece, but different date, on a Phase 4 release available only in Japan (see below). The recording is pure Stokowski and clearly demonstrates the advantages of free bowing. The Elgar is simply one of the finest ever. I compared it with Barbirolli and Stokowski is consistently more emotional. The sound is also superb, more detailed than the Brahms. This was (is?) also available on another Japanese Phase 4 release, coupled with the Franck Symphony (see below). This disc is the first in CALA's releases featuring the Phase 4 material. Next in line is an all French disc with the Franck and Messiaen among other items. CALA 524

Ravel: Fanfare from L'Eventail de Jeanne* Chopin: Mazurka in A minor (orch. Stokowski)** Messiaen: L'Ascension** Duparc: Extase (orch. Stokowski)** Franck: Symphony.* Franck and Ravel recorded 24-5 August 1970 with Hilversum Radio Symphony. Messiaen recorded 22-3 June 1970 with London Symphony Orchestra. Chopin and Duparc recorded 13 June 1972 with London Symphony Orchestra. Chopin, French?? Well, as Ed Johnson points out in his excellent notes, Chopin may have been born in Poland but he was half-French and lived much of his life in Paris. Okay, I'm not making an argument for it. Anyway, this disc is a treasure. The program, put together by Ed, sounds just like something Stokowski would have done. The sound among the items is consistently excellent, you wouldn't guess different venues or dates. I love the Messiaen, his music is a lot like Scriabin, who also talked about music in colors. Then, too, at moments I am reminded of Ives. It is music to wallow in. The Franck is my personal favorite recording of the piece. Stokowski plays the orchestra like an organ, as only the old magician could do. Using the Phase 4 techniques, Stokowski achieved an even greater sense of an organist pulling out the stops as instruments are highlighted to magnificent effect. The pizzicato strings and harps that open the second movement are sublime, the English horn solo has more character than any other recording; it is plaintive. Speaking of openings, the opening theme, also used as the Fate Theme in Wagner's "Ring" must have 100 double basses along the back wall. Wow! Some listeners may feel it is too slow, I just love to wallow in all the details Stokowski brings to the music. CALA 525.

Holst: The Planets [14 February 1943] Debussy: Prelude to the Afternoon of a Faun [14 March 1943] The Engulfed Cathedral [13 February 1943] Morton Gould: Two Marches [14 March 1943] NBC Symphony Orchestra Monaural. The Holst is a must for any lover of the music. Stokowski inherited this orchestra when Toscanini had a temper tantrum and left. Though he was back by this time, Stokowski was still listed as 'top dog' of the orchestra. The opening pizzicato on the strings is as menacing as you'll ever hear. The Debussy items are as lush and rich as any Stokowski recording. The two marches by Gould are to "our allies in the war" China and Russia. The slightly dryer acoustic of the studio offers slightly more detail than you will hear in the Philadelphia recordings. On the other hand, Stokowski's improvements of Studio 8H give the sound a richness and fuller body than in Toscanini broadcasts. The remasterings, by The Audio Archiving Company, are wonderful. I heard the Holst originally on a Japanese Stokowski Society LP some years ago. That disc included spoken commentary between movements, which have been thankfully omitted here. I approached this disc with trepidation, but came away impressed. CALA 526.

Bach/Stokowski: Toccata and Fugue, Ein' Feste Burg, Mein Jesu, Little Fugue in g, Komm Susser Tod, Air on the G String, Preludio, Arioso, Prelude in e flat, Andante Sostenuto, Passacaglia and Fugue in c. All-American Youth Orchestra. Monaural. 1940-41. The All-American Youth Orchestra was one of many peripatetic efforts on Stokowski's part. After he left Philadelphia he organized this group of young players and toured South America in 1940 and the US of A the following year. The playing is nothing short of miraculous. You would never guess that the median age was 21. This disc offers the only recording of Stokowski's transcription of the Andante Sostenuto from the 3^rd Sonata for Unaccompanied Violin. How does the rest of the fare? In comparison with his other recordings, this Bach batch is more Disney-like in its flair and pulse. The Komm Susser Tod recalls Elgar's Enigma Variations… especially Nimrod. The sound is not as full as you normally get from a Stokowski recording, but the bass line is there. Primarily for Stokowski-philes, in fact a must for them. The cover photo of Stokowski has to be seen to be believed. It is Stokowski as a first encounter of the third kind, taken from a portrait made by an admirer. I love it. CALA 527.

Vaughan Williams: Symphony #4. 14 March 1943; Butterworth: A Shropshire Lad. Antheil: Symphony #4. 13 February 1944. NBC Symphony Orchestra live, monaural. Once again we are indebted to Ed Johnson and the Leopold Stokowski Society for offering us Stokowski rarities. You want the most intense Vaughan Williams you have ever heard? This is it in spades. You want to hear the "bad boy of music"? The Antheil symphony is really worth your time. If it strongly suggests Shostakovich, it may well be that Antheil was influenced by the times as well as the Russian composer. The Butterworth, from the same program, is nice to have as a filler, and there are too few Stokowski recordings of English composers. The sound on the Antheil is much improved over the acetates I worked with years ago to make a cassette copy. The sound on the other items is even better, belying the Studio 8-H dry acoustics. CALA 528

Tchaikovsky: " Aurora 's Wedding" (1976) Stokowski Encores: Debussy: Clair de Lune & Night in Granada; Albeniz: Festival in Seville; Novacek: Perpetuum Mobile; Shostakovich: Prelude in E-flat minor; Rimsky-Korsakov: The Flight of the Bumble-Bee; Tchaikovsky: Humoresque; Chopin: Mazurka in B-flat minor & Prelude in D minor. (1976) National Philharmonic Orchestra. The National Philharmonic Orchestra was created just to make recordings with Stokowski. The sound was always good from Columbia (now SONY) and the Leopold Stokowski Society has made it even better. This disc provides a wonderful evening of music. CALA 529

Humperdinck: Prelude to Hansel and Gretel; Haydn: Symphony #53 "The Imperial"; Mozart: German Dance #3, The Sleigh Ride; Schumann: Symphony #2; Johann Strauss: On the Beautiful Blue Danube, Tales from the Vienna Woods. HIS Symphony Orchestra. MONO. CALA 532

Stokowski: New York Philharmonic (1947 & 49) Vol. #1 Wagner: Flying Dutchman Overture; Ippolitov-Ivanov: In the Village (from Caucasian Sketches); Messiaen: L'Ascension; Griffes: The White Peacock (from Roman Sketches); Wagner: Wotan's Farewell & Magic Fire Music; Vaughan Williams: Fantasia on Greensleeves; Tchaikovsky: Francesca Da Rimini. New York Philharmonic Symphony Orchestra. MONO. This disc and volume two comprise all but two items Stokowski recorded with the NYPO (there were no recordings made in 1948 due to union "issues") The items are not chronological, but have been arranged by Ed Johnson to provide interesting programs. This has been achieved in spades. Given sufficient volume the Flying Dutchman will blow you off course. The Griffes sounds much better than on the ill-fated Smithsonian series issue from several years ago. The sound throughout is fantastic, taken from the original lacquers. CALA 533

Stokowski: New York Philharmonic (1947 & 49) Vol. #2 Wagner: Rienzi Overture; Sibelius: Maiden with the Roses; Khachaturian: Masquerade Suite; Tchaikovsky: Waltz from Serenade for Strings; Wagner: Siegfried's Rhine Journey and Funeral Music; Schoenberg: Song of the Wood Dove (Martha Lipton, Mezzo-Soprano) Copland: Billy the Kid (Prairie Night, Celebration Dance). MONO. It was a great idea to offer these discs separately. When in Philadelphia Stokowski often programmed an all-Wagner evening. It is too bad he never got to do any of the operas because his Wagner ranks with the best, including Furtwängler. The sound here, to add what has been said about volume one, has the rich, deep bass line that is so much a part of the Stokowski Sound. The playing is better than that achieved by HIS Symphony Orchestra (with whom Stokowski also recorded at this time) or of the NBCSO. Other than the memorable Wagner, I would also single out the Sibelius for praise. CALA 534

Mussorgsky-Rimsky-Korsakov: "Boris Godunov" excerpts. San Francisco Symphony Orchestra (1952: Nicola Rossi-Lemeni: Boris & Vaarlam the Friar) Wagner-Stokowski: Parsifal. "Good Friday Spell" Symphonic Synthesis of Act 3. His Symphony Orchestra (1952) The Leopold Stokowski Society produced what is arguably their two finest discs in 2003. In 1952 Stokowski guest conducted the San Francisco Orchestra and after a concert recorded 11 segments. You would almost swear this is a stereo recording so good is the transfer. Stokowski loved this opera and made his own symphonic transcript. For this visit, however, he used the Rimsky-Korsakov version and it is magical. The Wagner is no less fascinating. Once again Stokowski transforms an almost chamber size band to a full orchestra. CALA 535

Rimsky-Korsakov: Schéhérazade (LSO: 1964) Tchaikovsky: Marche Slave (LSO: 1972) Stokowski in rehearsal of the Schéhérazade. If I could give this a billion stars I would, but the publisher would likely object. This is the finest Schéhérazade ever, by anyone. One critic opined that if any music was ever written FOR Stokowski it is Schéhérazade. Of his several recordings this is the best (though I harbor a secret love of the 1934 recording made in Philadelphia ). The sound was harsh on the LP and earlier CD release but it has been transformed by Paschal Byrme and Craig Thompson. If I keep going this will get to the point of sounding hyperbolic. The Tchaikovsky had me on the edge of my seat. The rehearsal excerpts are an insight to the Mysterioso's magic. A MUST HAVE for any and everybody. CALA 536

Vaughan Williams: Symphony #6 (21 February 1949); Tchaikovsky: Romeo & Juliet (28 November 1949); Mozart: Symphony #35 "Haffner" (live performance: 20 November 1949); Thomas Jefferson Scott: From the Sacred Harp (Vdisc: 30 January 1949); Weinberger: Polka & Fugue from "Schwanda the Bagpiper (live performance 16 January 1949). This release is Volume #3 in the Leopold Stokowski Society's CALA series. Stokowski gave the NYPO premiere of the Vaughan Williams 6^th just a month before going into the studio to make this recording. Among other reasons to acquire this recording is that it is the only one I know of that uses the original Scherzo, later revised by the composer. The performance is the finest I have heard evoking the enigmatic aspect of the symphonies of Vaughan Williams, as does no other. The Tchaikovsky, with Stokowski's ending is perhaps the best recording he made with the NYPO strings rich and full-bodied. Some have been critical of Stokowski's way of ending the music sans the MGM crescendo but frankly it fits the music better than the normal one. Mozart's "Haffner" is my favorite Mozart Symphony because… wait a minute… I don't need a reason. Some people might expect a heavy overly Romantic reading but Stokowski is quite light in a warm performance that brings out the humor and humanity in Mozart. The sound may not be as good as the studio performances but it is very good. The other items reflect Stokowski's efforts to promote 'new' music and are accessible if not memorable. CALA 537

Vivaldi: 'The Four Seasons' Hugh Bean (Violin) Charles Spinks (Harpsichord) New Philharmonia Orchestra. Handel: Messiah: Excerpts. Sheila Armstrong (Soprano) Norma Procter (Contralto) Kenneth Bowen (Tenor) John Cameron (Bass) Charles Spinks (Harpsichord) LSO Chorus (John Alldis, chorus master) London Symphony Orchestra. Stokowski never conducted Vivaldi's "Four Seasons" until June of 1966, just before recording the music in the studio. Hugh Bean's playing is… well, I really can't find words for it other than excellent and that just doesn't capture it completely. He is in tune with Stokowski's Romantic interpretation. Stokowski is slower than the norm today (or even yesterday… Karl Munchinger's 1973 recording clocks in at 37:49 to Stokowski's 45:50) however he maintains the tension. The orchestra is a full one and the rich bass line and free bowing so essential to the Stokowski Sound is in abundance. It may not be historically informed but frankly I don't give a damn (to quote someone). This two-fer disc also offers a Romantic Handel. The soloists are excellent. You can't help but be moved by the Hallelujah Chorus. I confess to not being a singer-interpreter and so will simply say I was impressed. Both recordings are vastly superior to the previous Decca/London releases. CALA 538 (2 CDs)

Vaughan Williams: Symphony #9 (US Premiere) Riegger: New Dance; Hovhaness: Mysterious Mountain; Creston: Toccata. HIS Symphony Orchestra [live concert 25 September 1958. This was a concert sponsored by the Contemporary Music Society, a creation of Oliver Daniel. The orchestra was essentially the NYPO. Stokowski had originally programmed Shostakovich's 11^th Symphony. On hearing of his friend's death, however, Stokowski changed the program and presented the US premiere. This disc is a MUST HAVE even if you are not a Stokowski fan. The Vaughan Williams 9^th is simply the best I have heard. It brings out the enigmatic nature of a piece which some people have said is not as good as previous efforts but anyone who listens to this will have no doubt as to its stature. Stokowski was known for his championship of 'modern' music and the rest of the program provides the listener with some excellent examples of the contemporary work of the time. If the other pieces don't measure up to the Vaughan Williams it is not the fault of the composers. This disc is indispensable. CALA 539

Saint-Saens: "Samson & Delilah" excerpts. Rise Stevens (Delilah) Jane Peerce (Samson) Robert Merrill (the High Priest). Robert Shaw Chorale. NBCSO. 1954. Tchaikovsky: "Eugene Onegin: Tatiana's Letter Scene" Licia Albanese (Tatiana). Leopold Stokowski's Symphony Orchestra. 1951. Monaural. Rise Stevens was the reason for this disc. She had performed the role several times before making this disc of excerpts. Looking at her picture you can see that she certainly looks the part. It is nice that The Leopold Stokowski Society chose to fill out the disc with the Tchaikovsky. Excellent transfers. This was the first of three discs CALA issued in 2005. CALA 540

Sibelius: Symphony #1 with LSSO and Symphony #2 with the NBCSO. ( 1950 & 1954) Stokowski and Sibelius had a personal liking for one another. This can be seen in Stokowski's tribute to the composer taken from his own notes for the release of the 2^nd Symphony and Sibelius' letter to Stokowski on receiving a copy of the LP of the 1^st. "I am happy that the man who [recorded] it calls me his friend." Nobody does this music better than Stokowski. The transfers are excellent! CALA 541

Grainger: Country Gardens,* Mock Morris, Early One Morning, Shepherd's Hey,* Irish Tune from County Derry, Molly on the Shore, Handel in the Strand.* Sibelius: Berceuse from "The Tempest", Valse Triste from "Kuolema." Vaughan Williams: Fantasia on a Theme by Thomas Tallis. Rachmaninov: Vocalise. Granados: Intermezzo from "Goyescas". Debussy: Clair de Lune. Ibert: Escales (Ports of Call). Leopold Stokowski Symphony Orchestra. Percy Grainger at the piano.* How Stokowski managed to get sound like this from an ad hoc band is amazing. The orchestra was usually no more than 50-60 people but using tape technology Stokowski made them sound like twice the size. It helped that he had some of the finest musicians in the country in the orchestra. Grainger made the orchestral arrangements just for this recording and took part as well. Particularly in Grainger's works the musicians all sound like they are having a great time. I could go on, but I would offer that if I had to have only one Stokowski disc this might be it. CALA 542.

Tchaikovsky: Swan Lake Highlights; Johann Strauss, II: "On the Beautiful Blue Danube". "Tales from the Vienna Woods"; Beethoven: "Turkish March"; Mozart: "Turkish March". NBCSO (Mono). These recordings, made in 1954 and 1955) demonstrate what a phenomenal orchestra the NBCSO was. It also demonstrates what Stokowski could do with tape and sound. The zither solo in "Vienna Woods" (with an added electric guitar thanks to Stokowski) was taped at a separate session and then spliced into the rest of the fabric. The playing, especially the solo harp and oboe (with Robert Bloom on the latter) are particularly telling. The sound is excellent. CALA 543.

Beethoven: Symphony #6 "Pastoral"; Liszt: Hungarian Rhapsodies #1-3; "Sounds of Nature" chat with Stokowski. NBCSO (Mono). Yes, five stars. Even though the 'Sounds of Nature" is a dated, hokey bit where the 'stream' sounds like water running down a drain (but I am told it is from tapes of the real thing). This is the finest performance I know of this piece, even better than Bruno Walter's magnificent recording. Some people have complained about the length of the second movement but I find it just right. The Hungarian Rhapsodies (where Stokowski had the solo viola and cimbalom recorded at a different time and spliced in) are delicious. My notes for the symphony abound with the word "delightful". CALA 545.

CAMEO CLASSICS

Tchaikovsky: Symphony #5; Rehearsal excerpts. International Youth Festival Orchestra: 1973 (Stereo) Another five star release from 2006. Stokowski arguably loved this symphony more than any other Tchaikovsky piece. I heard this recording not long after listening to another one of the same piece from a 1952 Detroit Symphony Orchestra that bowled me over (see Music and Arts). The sound here is absolutely excellent and the performance is riveting. The drum roll into the finale is stunning. Even more fascinating is listening to Stokowski's rehearsal comments, particularly when you can hear the orchestra change its sound per Stokowski's instructions. Cameo 9007.

CHICAGO SYMPHONY

These discs are available only through the Chicago Symphony. I do not have the address at hand. I am also not certain if they are still available. If they are I recommend them to all of you. The sound in all the discs is excellent and the contents intriguing. The fact that the Shostakovich is (was?) only available in a 12 disc set may limit its value to you.

Beethoven: Symphony #8 Chicago Symphony Orchestra STEREO 3/24/66. [Live performance. Part of a two disc set available from the Chicago Symphony Orchestra. also contains live performances by Giulini, Szell, Ansermet, Abbado, Ormandy, etc.] From the Archives: Vol. 5.

Shostakovich: Symphony #10 Chicago Symphony Orchestra Vol. 11 [From a live performance in 1968. Part of a 12 disc set issued by the Chicago Symphony in 1990] Stereo. This is one of the finest interpretations of this symphony. It was available on a Japanese Stokowski Society LP some years ago, but that disc was not correctly transferred. In it, and not in the CD, is a long ovation at the end. The set also includes interesting performances by every one who was anyone who conducted the Chicago Symphony from Frederick Stock. There is even a piece conducted by Stock which was written by the first conductor, Theodore Thomas.

Beethoven: Symphony #2. Chicago Symphony Orchestra. Stereo. Disc Two. From a live broadcast on 7 October 1962. Hold on to your horses. Stokowski leads a red-hot interpretation that foreshadows the "Eroica". Not at all like Bruno Walter's recording. I like it. It is part of a ten disc set available from the Symphony. See my review of the entire set on the Maestrino page of the Leopold Stokowski Club site.

CITADEL

Cowell: Persian Set [1957] Stereo; Goeb: Symphony #3 [1952]; Ben Weber: Symphony on Poems of William Blake. [1952] The latter two items are monaural. All three appeared on CRI discs. The Goeb and Weber were also recorded for RCA, but issued on different LPs. They were coupled on the CRI release. The Cowell was recorded only on CRI. This disc offers 20-Bit remastering and sounds great. You may not care for the performances, but they document Stokowski's commitment to contemporary music (can you imagine any other of the 'great' conductors in 1952 recording or even performing any of these??). How important they may be as historical documents of mid-20^th century contemporary music I am not in a position to judge. Citadel 88123

CLASSICA D'ORO

Bach: Toccata & Fugue; Prelude in D minor; Air, from Orchestral Suite #3; Sarabande, from Violin Partita #1; Siciliano, from Violin Sonata #4; 'Mein Jesu' Was fur Seelenweb; Es ist vollbracht, from the St. John Passion; 'Christ lag in Todesbanden' from Cantata #4; "O Haupt voll Blut' from the St. Matthew Passion; Komm, Susser Tod; Passacaglia & Fugue in C minor. (1927-1940) Philadelphia Orchestra. MONO. This release is, so far, the only one from this label, distributed by Allegro, which I can recommend, and is also the only Stokowski release. These recordings are also available on a two disc set on Pearl 1836 that has virtually all the Bach recordings Stokowski made in Philadelphia (exceptions are when there was more than one recording of the same piece). The sound here has less surface noise and an added stereo perspective (which is not bad at all). The price is very inexpensive. If you have not the Pearl discs this would be a good way to get some of the items. If you have it you may want to lay out the few bucks for this one. I assumed the recordings were lifted from the Pearl set and fiddled with but an email from Allegro assures me that these are all remastered by one of their own men. Of course that could mean he took the recording from the Pearl set and fiddled with it. Classica D'Oro 1011

CRI

Josten: Jungle; Concerto Sacro I-II; Canzona Seria American Symphony Orchestra STEREO (1971/65/71) Is this still available? I personally don't find the music very interesting.

DISQUES REFRAIN

Tchaikovsky: Symphony #5. Mussorgsky: Intermezzo: Khovanstchina. Stuttgart Radio Symphony Orchestra. This was from Stokowski's 1955 tour of Europe. For some time now I have been convinced that Stokowski wanted this piece to be his 'signature tune' and not Bach's Toccata and Fugue. He uses it in the opening of 100 Men and a Girl and frequently performed it on tour. In fact, there is another live recording from a 1952 tour on Frequenz. This performance is super, even more driven than the earlier one. It is exciting and the sound is good monaural. It is also inexpensive. I got my copy from an Internet source for less than $13.00 shipping included. DR-930051.

DUTTON LABS

LEOPOLD STOKOWSKI: 20^th CENTURY RUSSIAN MASTERPIECES: Stravinsky: Petrushka (1937); Firebird Suite (1935); Pastorale (1934); Fireworks (1922); Shostakovich/Stokowski: Prelude in E Flat (1935) MONO Phila. Remastered by Michael Dutton. Dutton 8002 [While many people have raved about Dutton's work, and it received a rosette in the Penguin Guide to CDs, I do not like it. All the air has been sucked out of the sound and it has an aural equivalent to colorizing black and white movies. The Petrushka is on a preferable transfer by Ward Marston on RCA/BMG.

STOKOWSKI CONDUCTS A RUSSIAN SPECTACULAR: Mussorgsky: A Night on the Bare Mountain ['40] Boris Godunov (Symphonic Synthesis) ['36] Pictures at an Exhibition ['39] Khovanshchina (Entr'acte to Act IV) ['27]; Borodin: Dances of the Polovetzki Maidens ['37] Philadelphia Orchestra MONO Dutton 8009 Despite my reservations about Dutton's work, these are wonderful performances not otherwise on CD at this time.

Falla: El Amor Brujo. Nan Merriman (mz) Hollywood Bowl Symphony Orchestra, 14 August 1946. Brahms: Symphony #1. Hollywood Bowl Symphony Orchestra, 1 August 1945. Dutton 9705. Dutton has rendered a wonder here. The previous issue of the Brahms, on CALA 520, sounded about like the LP. The sound was boxy, thin and distorted. I decided that this was probably about as good as it was going to get; after all, it did sound like the LP. I always considered that release one of the Stokowski failures. Now we can hear the recording in its fullest, richest glory, restoring to the catalogue one of the finest recordings of the Brahms ever. The difference in sound is absolutely amazing. You may have a slight preference for the Pearl (1836) issue of the Falla; it is good. Overall, however, I prefer Dutton again. His is a more natural sound and the performance has always been one of the finest. This is a great release, and not just for fans of Stokowski.

EMI

SHOWCASE: Beethoven: Overture. to Lenore #3; Mozart: Don Giovani: Overture.; Schubert: Rosamunde Overture.; Tchaikovsky/Stokowski: Solitude; Sousa/Stokowski: Stars & Stripes Forever; Chabrier: Espana; Saint-Saëns: Danse Macabre; Berlioz: Roman Carnival Overture.; Ippolitov-Ivanov: Procession of the Sardar; Rossini: Wm. Tell Overture.; National Philharmonic Orchestra STEREO ['76] The sound is superb!! These works were also on the PRT label on two discs that contained additional music. [See in Misc.] EMI 7 64140

Bach/Stokowski: Toccata & Fugue; Air on a G String; Preludio; Passacaglia & Fugue; Komm Susser Tod; Bouree; Sarabande; Ein Feste Burg; Shepherd's Song; "Little" Fugue "HIS Symphony Orchestra" STEREO [1958] EMI Japan 2DJ-3271. This was also available on a domestic EMI disc, but I didn't keep it because I preferred this remastering. To my knowledge the domestic release is no longer available.

Barber: Adagio for Strings ['56] Bartok: MSPC ['57] Schoenberg: ['57] HIS Symphony Orchestra STEREO EMI 7 47521. This is no longer available. The Barber was later released on EMI's FDS series but that transfer is inferior. I am told the Bartok and Schoenberg are slated for re-release on CD. I hope I can have some influence in making that release better sounding.

Debussy: Ibéria Nocturnes Ravel: Alborada del Gracioso Rapsodie Espagnole *Orchestre National de la Radiodiffusion Francaise ['58] London Symphony Orchestra ['57] STEREO EMI 7 47423 No longer available but see below. The Nocturnes in this remastering suffered from a 12 second monaural segment in the Sirenes.

Debussy: Ibéria, Nocturnes; Ravel: Rapsodie Espagnole; Ibert: Escales French National Radio Orchestra/ London Symphony Orchestra STEREO EMI 65422 [As above but much better and corrected remastering.]

Glière: Symphony #3 'Ilya Morometz' STEREO Houston Symphony Orchestra [1956] Loeffler: A Pagan Poem HIS Symphony Orchestra STEREO [1959] EMI 5 65074 I still prefer the interpretation and sound with the Philadelphia Orchestra (see below) but the Loeffler is an added bonus.

Holst: The Planets L.A. Philharmonic ('56) Ravel: Alborada del Gracioso L'Orchestre de la Radiodiffusion Francaise ('58) Stravinsky: Petrushka: Suite BPO ('57) Stereo. EMI 5 65423 [This issue is when EMI started to mess with the Stokowski Sound (see below). The Holst, in particular, is inferior to a Seraphim issue quietly released (and in our collection on a Japanese CD (CC-33-3796). These have a fuller, more reverberant sound. The Ravel and Stravinsky were also previously released, but this issue has a much more natural sound to it. It would be worth the price of the disc for those alone.

Martin: Petite Symphonie Concertante for Piano, Harp and Harpsichord HIS Symphony Orchestra. [1957] STEREO Matrix 24: EMI 5 65868-2. The opening reminds me of Schoenberg's Transfigured Night (as well it should as it is based on a tweleve-note row. Later it recalls Poulenc's Harpsichord Concerto. It is an interesting piece, if not memorable. The sound is excellent. (Coupled with Toch's Symphony #3 [fascinating piece, you should hear it] and Hindemith's Mathis der Maler. Both are conducted by William Steinberg and the Pittsburgh Symphony. Released 2/96. [The only reason for a qualifying fourth star is that the couplings might not be exactly what you want. I do strongly recommend this disc, however, especially to those who have not heard the Toch.]

Orff: Carmina Burana Houston Symphony Orchestra [1958] Stravinsky: Firebird Suite BPO [1957] STEREO EMI 5 65207 The Orff was available on a better transfer on a Japanese CD (see below).

Orff: Carmina Burana Stereo. Houston Symphony Orchestra. Shinseido 1000 Classics EMI SAN 13. This is a better sounding transfer than above, but is probably not readily available. I am also not certain just how "legal" this disc might be.

Shostakovich: Symphony #11 'The Year 1905' Houston Symphony Orchestra STEREO [1958] FDS 5 65206 This is far superior to the earlier EMI release both in sound and in the fact that the earlier suffered from an editing error that is ruinous and inexcusable. When the symphony was issued on a single disc LP instead of two, the third movement had to be interrupted on side one. To maintain some sense of continuity the last twelve bars at the end of side one were repeated at the beginning of side 2. When the company released the CD, they kept the repeated 12 bars of music in the tape, making it sound like Stokowski didn't know what he was doing! In this incarnation we have one of the finest interpretations ever in sound which is still comparable to anything DDD.

Stravinsky: The Firebird: Suite Petrushka: Suite ('57) BPO Debussy: Clair de Lune (orch. Stokowski), Prelude to the Afternoon of a Faun ('57) Stereo. Not as full sounding as on the LP and the Stravinsky has a much more natural sound on the FDS release (see Holst, above). Angel CDM 7 69116 2.

UNITED ARTISTS RELEASES: Stokowski: Transcriptions: Frescobaldi: Gagliarda; Palestrina: Adoramus te; Gabrielli: Pian e Forte; Cesti: Tu Mancavi A Tormentarmi/ Crudelissma Speranza; Respighi: Pines of Rome; Khachaturian: Symphony #2 The Bell; Shostakovich: Symphony #1, Prelude in E-Flat Minor, Entr'Acte from Lady Macbeth of Mzensk; Bloch: Schelomo [George Neikrug] Symphony of the Air STEREO EMI 65427 (2) [These were originally United Artists LPs] These are excellent recordings. The sound is much improved over the LPs, but the Khachatruian still sounds anemic (I was told the original masters had deteriorated and a lot of work had to be done to make it acceptable) and not that good a piece. It would have been nice if they could have found the masters for the Beethoven 7th. (Two CDs)

Landmarks of a Distinguished Career/The Orchestra: Dukas: Fanfare to La Peri; Barber: Adagio for Strings; R.Strauss: Gavotte; Farberman: Evolution (Part I); Vaughan Williams: Szchero from Symphony #8; Persichetti: March; Tchaikovsky: Scherzo from Symphony #4; Mussorgsky/Ravel: Hut on Fowl's Legs, Great Gate of Kiev: Pictures at an Exhibition; Debussy: Clair de Lune; Bach/Stokowski: Toccata & Fugue; Sibelius: Swan of Tuonela; Debussy: Prélude à l'après-midi d'un faune; Sibelius: Finlandia. HIS Symphony Orchestra STEREO EMI 65614 [FDS issue] In my original entry I was much too harsh on this disc. There are some wonderful things on this disc but comparison with earlier releases the sound here is thinner. The earlier release of the Barber (see above) has a more cathedral ambience missing here. On the other hand, there is much more detail here that is covered by the earlier release.

Bach/Stokowski: Toccata & Fugue; Air on a G String; Preludio; Passacaglia & Fugue; Komm Susser Tod; Bouree; Sarabande; Ein Feste Burg; Shepherd's Song; "Little" Fugue "HIS Symphony Orchestra" STEREO [1958] This new remastering is a marvel. It is much superior to previous releases and includes an additional item. I originally had EMI Japan 2DJ-3271.

Rachmaninov: Symphony #3, Vocalise. National Philharmonic Orchestra. 1975. STEREO EMI 566759. This is one of the two legendary Desmar releases. These discs were made when the Maestro was 93. Some reviewers have condemned it, accusing it of sloppy playing. It is the most exciting performance I have ever heard. This is not just good Stokowski, it is good period. It's times like this that I am glad that I don't read music. I'd hate being able to read the score keep me from appreciating this. This is the orchestra of selected London elite players which Stokowski recorded with in his very final recordings for, now Sony. The sound, like on the LP, is audiophile.

Vaughan Williams: Fantasia on a Theme by Thomas Tallis. Purcell: Dido's Lament (arr. Stokowski). Dvořák: Serenade for Strings. National Philharmonic Orchestra. 1975 STEREO EMI 566760. This is the "other" Desmar disc. Great sound and the Vaughan Williams was never done better by anyone. The Dvořák will be more controversial, but it is another performance to wallow in.

Respighi: Pines of Rome. Shostakovich: Symphony #1. Gabrielli: Sonata pin e' Forte. Cesti: Tu Mancavi Tormentarmi (orch. Stokowski) Frescobaldi: Gagliarda (orch. Stokowski) Palestrina: Admoramus Te (orch. Stokowski). Symphony of the Air. 1959 STEREO This disc was culled from the two-disc set EMI issued four years ago. These recordings were released on the United Artists label around 1960. The SYO, the former NBC Symphony Orchestra, was a fantastic band and these recordings were made at midnight sessions. I don't discern any difference in sound, which is very good, but if you don't have that earlier disc you should get this one. If you are a Stokowski fanatic, get this one, too. 66864.

Debussy: Prelude to the Afternoon of a Faun, Three Nocturnes* Clair de Lune (arr. Stokowski) Ibéria **. Stereo. His Symphony Orchestra. (1957) * London Symphony Orchestra. (1957) **L'Orchestre National de la Radiodiffusion Francaise. (1958) EMI 67313. These recordings have been previously released on CD. The Nocturnes and Ibéria were on 65422 in 1994, and the sound here is as good as then, which was excellent to begin with. The other items, however, now sound much better, as good as the other pieces. In fact, if you want a disc that captures "The Stokowski Sound" you can't do better than this one. Debussy is one of those composers that Stokowski had a feeling for that transcended the score.

"Music for Strings" Purcell: Hornpipe (from King Arthur Suite) Bach: Aria (from Suite #3) Mein Jesu, was fur Seelenweh befallt dich in Gethsemane; Preludio; Handel: Tamburino; Gluck: Dance of the Blessed Spirits, Lento, Musette; Boccherini: Menuet; Paganini: Moto Perpetuo; Borodin: Nocturne (from Quartet #2) Tchaikovsky: Andante Cantabile (from String Quartet #1) Rachmaninov: Vocalise; Turina: La Oracion del Torero; Berger: Rondino giocoso. Stereo, Leopold Stokowski Symphony Orchestra. Listed as "new" late (in 2003) this 1996 release sounds thin, reflecting the size of the ad hoc orchestra. None of Stokowski's instructions on adding bass, etc. were followed. That is, this does not have The Stokowski Sound. I urged the company to remaster it. The contents would have made for a fantastic disc. No luck. EMI 65912

[Disc One] Sibelius: Symphony #1, National Philharmonic, 1976; Nielsen: Symphony #2 "The Four Temperaments" Danish State Radio Symphony Orchestra, 1967; Grainger: Handel in the Strand, Country Gardens, Shepherds' Hey, HIS Symphony Orchestra, 1950. [Disc Two] Dukas: La Peri, HIS SO, 1957; Brahms: "Tragic Overture" National Philharmonic, 1977; Liszt: Hungarian Rhapsody #1, Members of NBCSO, 1955; Turina: La oracion del torero, HIS SO, 1958; Ibert: Escales, Orchestre National de la Radiodiffusion Francaise, 1958; Wagner: Tristan und Isolde Love Music Liebesnacht (Act 3) and Liebestod (Act 3) Philadelphia Orchestra, 1960; Glière: Russian Sailor's Dance, HIS SO, 1953. As you can see, there is a lot of music for the buck. There are also some interesting items not previously released on CD: the Nielsen, Liszt, and Glière. There is also a significant improvement in the sound of the Sibelius and Brahms over the previous, SONY, releases. The Wagner, however, disappoints over the version to be had in the Philadelphia Centenary set of 12 discs. It really is a bit thin and harsh on this release. Still, if you don't have it and don't want to shell out for the Philadelphia set, this is the only game in town and you might hear it very differently than I. EMI 75480.

Bach/Stokowski: The contents in this release are exactly the same as in the previous Angel/EMI release (see above). I have listened to it and compared it with that release several times. I think I detect a slight difference in sound it seems a bit warmer. On the other hand, I wouldn't swear to that in court. There is a DVD included that has Stokowski conducting Debussy's "Prelude to the Afternoon of a Faun" but it, too, has already been released on a DVD from IMP/EMI that contains Stokowski conducting Beethoven's 5th, Schubert's "Unfinished" and Wagner's "Meistersinger" Prelude to Act. 1. I noticed that the ART process (which has been used to excellent effect in other EMI new releases) was not used here. So, old wine in new bottles. EMI 57758

EVEREST

These discs are a marvel!! Using the original 35 mm tapes and great care in remastering and the Sony SBM mastering. While I do not hear the significant difference of SBM in these that I do in Sony's own Bruno Walter Edition, the sound is wonderful. I do wonder why they are all marked AAD, though. I will call and ask and place the info in an update.

Bartok: Concerto for Orchestra Houston Symphony Orchestra ['60] STEREO (Coupled w/ Kodaly: Psalmus Hungaricus w/ Ferencsik) 9008 [Everest is doing a fine job of making sure their issues have the Stokowski sound. This performance is among the best. It was also issued on a Stokowski Society 45 rpm LP some years ago, coupled with the Thomas Canning piece mentioned below.]

Strauss, R. Don Juan Till Eulenspiegel's Merry Pranks Dance of the Seven Veils Stadium Symphony of NY (New York Philharmonic Orchestra) ['58] Canning: Fantasy of a Hymn Tune by Justin Morgan ['60] Houston Symphony Orchestra STEREO [The sound here shows its age in the Strauss, but is not unlike the LPs. Excellent performances and very good recordings.].

Brahms: Symphony #3 Houston Symphony Orchestra STEREO ('59) [Coupled with Steinberg's Brahms 4^th. Everest 9016. [The sound here is infinitely better than the Bescol release. which may still be in some cut-out bins. That issue is to be avoided.]

Shostakovich: Symphony #5. Stadium Symphony Orchestra of NY (New York Philharmonic Orchestra) STEREO (1958) Everest 9030. [This is the latest incarnation. Previously released on PriceLess and Philips (see above) this transfer is excellent. The very opening is not as dramatic as in the PriceLess release, but after about a minute the sound improves. What is here is more intimate detail in the symphony compared with the PriceLess. The 20 bit SBM process also contributes to the experience. Unfortunately, the lack of a coupling will likely keep others from buying this. If you are reading this, don't hesitate. Released 3/96.

Villa-Lôbos: Uirapuru, Modinha; (58) Prokofieff: Cinderella Suite; Debussy: Children's Corner Suite (59) STEREO New York Philharmonic Orchestra EVE 9023 [The sound in the Debussy is curiously drier than the other items.]

Wagner: Die Walkure: Wotan's Farewell, Magic Fire Music (60) Parsifal: Good Friday Spell, Act 3 Syn. (59) STEREO Houston Symphony Orchestra EVE 9024 [Some people may carp about the timing on this disc, but I'd rather hear a quarter hour of this than 80 minutes of anyone else.]

Tchaikovsky: Francesca da Rimini, Hamlet. Stadium Symphony Orchestra of New York. (1959) Scriabin: Poeme D'Extase. Houston Symphony Orchestra 1959. Everest 9037 (10/15/96)

Amirov: Azerbijan Mugam; Chopin/Stokowski: Mazurka in A Minor, Prelude in D Minor, Waltz in C# Minor; Profokiev: Peter & the Wolf w. Bob Keeshan (Captain Kangaroo) & Orchestral Version. Houston Symphony Orchestra & Stadium Symphony Orchestra of NY (Prokofieff.) EVC 9048. Captain Kangaroo was the Barney of my childhood. Well, sort of, my parents didn't have TV until I was six. Listening to his contrived delivery makes me realize things aren't worse than they used to be, just different. The music was actually played as a suite of music, the dialogue was added later. Still, you ought to hear the Amirov.

GLOBE

Debussy: Prelude to the Afternoon of a Faun. Concertgebouw Amsterdam. MONO. 5 July 1951. This is part of a two disc set featuring recordings from live performances with the Concertgebouw. I am not sure how you can go about getting a copy in this country. Frankly, the set is worth the investment just to hear Bruno Walter and Elizabeth Schwartzkopf in Mahler's 4th. The Stokowski is very good, but the sonic limitations may bother some people. Globe 6905

IMP/BBC

Klemperer: Merry Waltz; Vaughan Williams: Fantasia on a Theme by Thomas Tallis; Ravel: Rapsodie Espagnole; Brahms: Symphony #4 STEREO (4 May 1974: Stokowski's last public concert in England. The Brahms was later recorded in the studio and issued on RCA.)

Shostakovich: Symphony #5 London Symphony Orchestra STEREO 17/9/64 Live performance. Coupled with a 1970 Live performance with the RPO and Horenstein in Sjostakovich's 1^st Symphony. BBC Radio Classics 15656 915429. This performance has been previously released, most recently on Music and Arts 765. The sound on this issue is marginally superior. If that sounds like an oxymoron it isn't. There is less FM noise in this transfer, offering the slightest degree of enhanced detail and body, but removing that veil has the same effect as so doing it with the last one on Salome. Well worth duplicating. (21/6/96)

Vaughan Williams: Symphony #8 BBC Symphony Orchestra STEREO Live performance. Coupled with Symphony #4 with Sir Ma London Symphony Orchestralm Sargent conducting. Same basic comments as above. (10/7/96)

Britten: The Young Person's Guide to the Orchestra; Beethoven: Symphony #7; de Falla: El amor brujo. Gloria Lane (mz). 23 July 1963 (Britten and Beethoven) 15 September 1964 (de Falla) STEREO BBC Symphony Orchestra. BBC 4005. This disc is a must have for music lovers. The sound is very good and the performances are exciting, fiery, quintessential Stokowski. The Britten and Beethoven take a few minutes to warm up, but once they do, look out ! About 4 minutes into the Beethoven, for example, it is like Stokowski suddenly kicks the players in the butt! The de Falla is simply one of the most sensuous things I have ever heard.

Scriabin: Le Poem de l'extase; Berlioz: Symphonie Fantastique; Interview with Deryck Cooke. New Philharmonia Orchestra 18 June 1968 STEREO BBC 4018. This live performance was just prior to Stokowski's commercial recording of the Berlioz. It is vastly superior to the studio account. There is more excitement and more depth in the interpretation. It is what I expected from the original LP and was disappointed. The critic in Gramophone called the Symphonie the "darkest" performance he ever heard. The interview, as usual with Stokowski, is a hoot. He talks about Napoleon Bonaparte as if he knew him. The Scriabin is still a piece I do not appreciate.

INTAGLIO

Brahms: Symphony #1; Glazunov: Violin Concerto [Silvia Marcovici/violin] STEREO London Symphony Orchestra (1974) [These performances were from Stokowski's 60^th Anniversary Concert with the London Symphony Orchestra. The LP set included a compilation of the first and second performances. This one is from the first and is more 'by the seat of the pants. The sound is remarkably similar to the LP.]

: Bartok: Miraculous Mandarin Suite American Symphony Orchestra [1969] Messiaen: L'Ascension ; Ives: Second Orchestral Suite London Symphony Orchestra [1970] STEREO from live performances, Intaglio 7421 The Ives & Messiaen are from concerts preceding the Phase-4 London release. Only recording of this Bartok piece by Stokowski.

( Mahler: Symphony #2 (Resurrection) London Symphony Orchestra 1963 MONO Intaglio 7491 [Previously this was issued on a Penzance LP set. This has also recently been issued on Music & Arts. I do not have that disc for comparison at this time. The sound is excellent and this is by far the finest performance by Stokowski of the two currently available on CD (the other includes cuts Stokowski made in the final movement and was issued by the L.S.S.A. as our first CD release. (You will note a parenthetical qualification for this issue, despite my comments. This is because I have just (literally, it is the evening of 12/9/95 [or 9/12/95 for those of your in Europe]) received the Music and Arts CD release and it is vastly superior to this. See under Music & Arts.

IRON NEEDLE

The Bell Labs Tapes. Berlioz: Roman Carnival Overture. Weber: Invitation to the Dance. Mendelssohn: Scherzo from Midsummer Night's Dream. Wagner: Tristan und Isolde [Prelude and Liebestod] Scribin: Poeme du due [stereo] Mussorgsky (orch. Ravel) Pictures at an Exhibition [Promenade, The Gnome, The Old Castle - stereo] [Bydlo, Promenade, Unhatched Chickens, Samuel Goldenberg, Catacombs, Baba Jaga, Great Gate of Kiev. MONO except where noted. PO 1931-32. I hate to recommend this disc, but I will take it as is rather than not at all. I know that Iron Needle stole this from Ward Marston. On the other hand, the sound on this disc seems very good. If you "crank it" you might detect an occasional LP swish, but you'd have the level too loud for comfortable listening. There are also moments of wow and flutter, but they are noticeable only through headphones. One critic indicated that he "felt" the channels had been switched in the stereo portions. I cannot confirm nor deny that since I do not have the LP at hand at this moment. In particular I listened to the Mussorgsky "Pictures". (Digression: It IS Ravel's Orchestration. Stokowski had yet to do his. A few years ago a writer in Gramophone discussed the various transcriptions. In it he asserted that Stokowski wrote his because Koussevitzky, who commissioned the work, had forbade Stokowski rights to perform it. So much for that theory.) Anyway, to hear the Philadelphia Orchestra, in stereo, as primitive as it might be, at their zenith, is an intense experience. The "Old Castle" already is more Stokowski than Ravel. I'd like to shoot the guy who coughs in the middle of that section. I do wish we'd get an official CD release which would include the famous Ride of the Valkuries where the Philadelphia Orchestra is in monaural at the beginning and then, and then the stereo switch is turned on and you hear the most marvelous playing ever. The monaural pieces are also sonically way ahead of the time.

LINCOLN CENTER FOR THE PERFORMING ARTS

This four CD set, bound in a pseudo leather book-like cover, contains material previously released on London/Decca discs. All are in stereo and seemingly remastered for this issue. The Schéhérazade My initial reaction was that this issue was better than the one previously released (see below) but I have since changed my opinion. After much listening I have come to the conclusion that while this disc has managed to smooth out some of the rough edges of that release, it has also smoothed over the excitement. You should also be aware that Decca has announced plans to issue all of their Phase-4 recordings, Symphony Orchestra stay tuned if you don't want to invest in the whole set. also, only the Tchaikovsky 1812 is not (or was not) available on the company's Weekend series. Disc 1: Rimsky-Korsakov: Capriccio Espagnol [New Philharmonia]; Mussorgsky/Stokowski: Night on Bald Mountain [London Philharmonic Orchestra]; Tchaikovsky: 1812 Overture [Royal Philharmonic Orchestra]; Tchaikovsky: Marche Slav [London Symphony Orchestra]. Disc 2: Beethoven: Symphony #7 [New Philharmonia]. Disc 3: Rimsky-Korsakov: Schéhérazade [London Symphony Orchestra]. Disc 4: Tchaikovsky: Symphony #5 [New Philharmonia]. This set was one of many in a promotional sale sent through the mail. You can purchase the Stokowski edition for $47.95 plus $4.95 shipping and handling. For information write: Lincoln Center for the Performing Arts 575 Madison Ave. New York, NY 10022.

LONDON/DECCA

DECCA Has released a six-disc set of items Stokowski recorded in the Phase 4 period of his recording career. This set is not currently available in the US. I have not listened to the set but commented on the previous one that the sound on those CDs was inferior to the original releases. My conclusions were based on extensive A/B listening to both. The Beethoven 5^th and 7^th in this latest release was released on the Weekend Classics series in the US but on the King label in Japan. The King series discs sounded better than the US series. The set also includes the Schéhérazade and Brahms 1^st Symphony, both issued in excellent sound on CALA. Decca has announced that the discs have been taken directly from the tapes used for the original issues (though my comments about the first set question that assertion) so if you already have those issues I see no need replace them.

STOKOWSKI ENCORES: Clarke: Trumpet Voluntary, Byrd: Pavan; Bach: Toccata & Fugue; Rachmaninoff: Prelude; Chopin: Mazurka; Schubert: Moment Musical; Tchaikovsky: Chant Sans Paroles; Duparc: Extase; Dvořák: Slavonic Dance in e; Elgar: Nimrod; Tchaikovsky: Waltz: The Sleeping Beauty; Stravinsky: Pastorale; Debussy: Engulfed Cathedral; Berlioz: Dance of the Sylphs; Wagner: Ride of the Valkries. STEREO Various orchestras & dates. London Weekend 433 876. It has been announced that the Phase-4 series will be remastered and issued in 1996.

STOKOWSKI ENCORES: Rachmaninoff: Prelude in c#; Chopin: Mazurka in a; Schubert: Moment Musical; Byrd: Pavans & Galliards; Tchaikovsky: Chants sans Paroles; Dvořák: Salvonic Dance in e; Clarke: Trumpet Voluntary; Duparc: Extase: Rimsky-Korsakov: Capriccio Espagnol STEREO Various Orchestras '72/3 London/King 3OY 124 [Japanese disc of above with obvious differences in content. The sound here is superior (fuller and richer) to the "Weekend" issue. The "Weekend" sound is closer and very strident in the strings. The fact that this disc is Symphony Orchestra good leaves hope that the forthcoming Phase-4 will sound more like this than the "Weak end" issue.]

STOKOWSKI/BACH TRANSCRIPTIONS Toccata & Fugue; Prelude; Geistliches Lied: Mein Jesu; Wir Glauben All'an Einen Gott; Chorale from Easter Cantata; Passacaglia & Fugue STEREO London/King K3OY 1512 [This was issued on the Weekend series but this Japanese disc sounds better.]

Beethoven: Symphony #5 LPO STEREO [w/Schubert: Symphony #8 (Unfinished) 1969 Jap/King K30Y 1538 This was also released on London's Weekend series coupled with the Beethoven 7th. That coupling earns a 4-star rating, but I already had these from the Japanese Stokowski Society and this disc sounds slightly better to me.

Beethoven: Symphony #7 New Philharmonia Orchestra STEREO [w/Egmont Overture.] 1973 Jap/King K30Y 1019 (See my comments directly above.)

Beethoven: Symphony #9 "Choral" London Symphony Orchestra 1967 STEREO Jap/King K30Y 1020 This was also released on the Weekend series. It is one of the finest Choral Symphony recordings ever!

Berlioz: Symphonie Fantastique New Phil.O. 1968 STEREO London/King K30Y 1513 [A London Symphony Orchestra released on the Weekend series, this is surprisingly tame for Stokowski. It is excellent with some nice touches (using two pianos) but perhaps I just expected more.]

Debussy: La Mer London Symphony Orchestra 1966 STEREO London Symphony Orchestra [w/La Cathedrale]New Philharmonia Orchestra 1969; Berlioz: Danse des Sylphes 1966 Ravel: Daphnis & Chloé] London 417 779 [I have previously commented that while other fine interpretations, such as Martinon, evoke the sea, Stokowski plays La Ocean. This is an excellent interpretation and recording.]

Handel: Messiah excerpts 1966 STEREO London Symphony Orchestra [Armstrong/ Proctor/ Bowen/ Cameron] London 433 874 Not to be taken after a heavy meal, this is grandly old fashioned. Wonderful sound. This is another example of the vagaries of earlier Stokowski issues on CD. This was originally issued on CD by IMP, but the channels were reversed!!

Ives: Orchestral Set #2 1970 STEREO London Symphony Orchestra [w/ Symphony #2/Hermann] London 433 17 [If you like Ives you'll like this, but I wonder why they didn't couple this with the other Ives and Messiaen which was issued on LP?]

Mussorgsky: Pictures at an Exhibition (arr. Stokowski) New Philharmonia Orchestra STEREO 1966 [w/Debussy/Stokowski: Engulfed Cathedral] London/King K30Y 1546 When this is issued in this country grab it. I know I am in the minority here, but Stokowski's version is better than Ravel's.

Rimsky-Korsakov: Schéhérazade London Symphony Orchestra STEREO 1965 [w/ Capriccio Espagnol & New Phil. 1968/ Borodin: Polovtsian Dances RPO 1971] London 417 753 [See my comments above regarding the Lincoln Center offering. This is one of the finest Schéhérazade's ever. This from a conductor who never recorded this piece anything less than phenomenally. The soloist is Erich Gruenberg, who was the same violinist chosen when Stokowski recorded this work again for RCA a decade later. If you must have a digital recording, a recent one on EMI with Mariss Jansons is the only one to have. Jansons greatly admires Stokowski and is one of the L.S.S.A.'s honorary advisors.

Tchaikovsky: Swan Lake & Sleeping Beauty Music New Philharmonia Orchestra 1965 STEREO London 430 140 [I'm sorry, I just don't much care for the music. If you do, you'll love this.]

Tchaikovsky: Symphony #5 STEREO New Philharmonia Orchestra 1967 [w/Roméo & Juliet L'Orchestre de la Suisse Romande 1968] London 433 687 [The sound is wonderful, the interpretation is magnificent, Alan Civil is the horn soloist. The R&J is also excellent!! For as low as $5.00 it's a steal.]

Tchaikovsky: 1812 Overture. RPO STEREO 1969 [w/March Slav London Symphony Orchestra 1967; Mussorgsky/Stokowski: Night on Bare Mt. London Symphony Orchestra; Borodin: Polovtsian Dances RPO 1971] London/King K30Y 1022 [See my comments in the section on the Lincoln Center set above. The 1812 has not been issued in this country, but the others are on different London/Decca issues.]

Vivaldi: The Four Seasons STEREO New Phil.O. 1967 [w/ Hugh Bean] (coupled w/non-Stokowski Bach items) London 433 680 [You have to hear this to believe it. My good friend, John McGrody, on first hearing the first movement, exclaimed, "How does he get the orchestra to do that without them rebelling?"]

Wagner: The Ride of the Valkyries, Dawn & Siegfried's Rhine Journey, Siegfried's Death and Funeral Music, Entrance of the Gods into Valhalla, Forest Murmurs; Die Meistersinger: Prelude London Symphony Orchestra 1966 & 1970 STEREO Decca 433 639 [This was issued on London's Weekend label, but this English singer: release is later and from a different mastering and is better. This is spectacular!]

Franck: Symphony. Hilversum Radio Orchestra 1970. Elgar: Enigma Variations. Czech Philharmonic 1972. These are personal favorites and the sound is damn good. I don't know of a single better recording, by anyone, of the Elgar. POCL 9889. This disc is available ONLY in Japan and ONLY if you have a friend there who will get them for you. Amazing.

Brahms: Symphony #1. Wagner: Die Meistersinger [Prelude to Act One]. 1972. London Symphony Orchestra. Wait for the Leopold Stokowski Society release. The sound here stinks. The strings are strident and there's no bass line. The Society's issue will undoubtedly sound better. The Wagner is already out on the Phase 4 Wagner disc and sounds better there. POCL 9888. This disc is available ONLY in Japan and ONLY if you have a friend there who will get them for you. Amazing.

In 2003 Decca issued a five disc set in an "Original Masters" series. It included material previously issued on CD from their Phase 4 series and one disc issued by the Leopold Stokowski Society on CALA. This set is a disaster. Except for the one issued by CALA the transfers are all at a lower level and the bass is weak. If you don't have the originals the Leopold Stokowski Recording Library will make copies for you.

LONDON "PHASE FOUR"

The following were issued beginning in 1996. London, following the success of Mercury's "Living Presence" and RCA's "Living Stereo" went back to their Phase Four recordings and remastered them for issue. Frankly, these are spectacular. They are far better than any previously issued CDs. The sound is fuller, warmer and still detailed.

Tchaikovsky: 1812 Overture, Mussorgsky/Stokowski: Night on Bare Mountain, Borodin: Polovtsian Dances, Tchaikovsky: March Slave. RPO (1812 and Borodin: 1969), London Symphony Orchestra (Mussorgsky and March: 1967) L'Orchestre de la Suisse Romande (1968). STEREO 443896-2. [These are spectacular performances and recordings. I personally find the music a bit banal and the 1812 was more interesting, if not Symphony Orchestra spectacularly recorded, in the live performance prior to the recording. That is available on Music & Arts #847]

Mussorgsky/Stokowski Pictures at an Exhibition (New Philharmonia 1967) Scriabin: Le Poeme de l'extase (Czech Philharmonic: 1975) Stravinsky: Pastorale (RPO: 1969) Firebird Suite (London Symphony Orchestra: 1967) STEREO 443898-2. [I have long argued that Stokowski's Pictures at an