I checked my ARSC mail and also the spam folder, but nothing arrived on the
On Sun, Nov 21, 2021 at 6:26 PM Nathan Georgitis <[log in to unmask]>
> Hi Peter, and all ARSC members,
> Please check your email for a message from ARSC sent Wed, November 17 with
> subject "ARSC Pre-1923 Survey Reminder".
> Nathan Georgitis
> Executive Director
> Association for Recorded Sound Collections
> 1299 University of Oregon
> Eugene, OR 97403-1299
> [log in to unmask]; [log in to unmask]
> -----Original Message-----
> From: Association for Recorded Sound Discussion List <
> [log in to unmask]> On Behalf Of Giovanni Punto
> Sent: Sunday, November 21, 2021 3:05 PM
> To: [log in to unmask]
> Subject: Re: [ARSCLIST] ARSC List of Notable pre-1923 recordings, just
> Sorry to come to the list with a problem, but I do not see any link to
> this list of pre-1923 recordings. I have searched the past three months of
> the archives and the thread seems to start with Gary's post of Nov. 9.,
> which obviously refers to something that appeared before he wrote. I'd love
> to see a link to the list, but, either the link appeared back in the summer
> or I am just missing something. I have to say that this is not the first
> time I have seen comments on a post that I'm pretty sure I did not see.
> Maybe my mail settings or the settings of the person responsible for
> posting are the root of the problem, but I have no idea how to troubleshoot
> Thanks in advance,
> Peter Hirsch
> On Sat, Nov 20, 2021 at 7:17 PM Alex McGehee <[log in to unmask]>
> > Nice comments Gary. Maybe others have mentioned that the Brahms
> > Hungarian Dance No. 5 wasn’t even by Brahms. It was the work of the
> > Hungarian composer Béla Kéler. I think Brahms thought he had a
> > traditional folksong on his hands. The Brahms version was written for
> > piano four hands, and god knows how much of his own orchestral
> > thinking Stokowski put into the Victor version.
> > My main objection to its inclusion is that this work was endlessly
> > programmed for concerts from its publication to the date of this
> > Victor recording. An old chestnut if ever there was one. It represents
> > lazy thinking in the classical music repertoire to choose it, if I might
> say so.
> > Far worthier would be the near complete version of Haydn’s Symphony No.
> > 94, recorded in Victor’s Camden, New Jersey studio on the 11th and
> > 12th of Nov. 1912. Yeah, I know it’s a chestnut now too, but a century
> > ago Haydn was finally emerging from more than a century’s worth of
> > neglect. He’s certainly a greater composer than Brahms and before
> > someone gets angry,, consider that appraisal was by Brahms himself.
> > An even more noteworthy recording would be Victor’s release of Haydn’s
> > Symphony No. 100, Walter B. Rogers (Victor’s house conductor) and the
> > Victor Concert Orchestra. UCSB gives the dates as June 5, 1913 and
> > Oct. 28, 1915. Both symphonies suffer abridgments and are the
> > arrangements of Theodore Moses Tobani, done primarily for purposes
> > related to the technical limitations of the acoustical recording
> > process with full orchestral forces. So with Symphony 100, the slow
> > introduction is jettisoned, but the rest of the first movement is
> > complete. Twenty bars from the second movement are cut, but they are
> > somewhat a repetition of the movement's first 20 bars, so the movement
> > seems as if it is complete to most listeners. The third and fourth
> movements are both complete.
> > Back to the Brahms. I know it sounds really great, but so do these
> > Haydn recordings and they were done years earlier than the Brahms.
> > They are also of far greater significance in the early recordings of
> concert repertoire.
> > I haven’t found sound files for No. 94, except for its second
> > movement, which UCSB has. Neither UCSB or the National Jukebox has
> anything from No.
> > 100, but the British Library has all of it and it sounds wonderful.
> > And if I may land one more punch for Haydn, Pol Plançon sounds a lot
> > better in Air du laboureur ( trans. French) from Haydn’s Jahreszeiten:
> > Schon eilet froh der Ackermann than he does on the ARSC acoustic list
> > with Couplets du tambour-major. That’s just my opinion, but you can
> > hear it for yourself on UCSB’s website <
> > https://urldefense.com/v3/__https://adp.library.ucsb.edu/index.php/mat
> > rix/detail/200003696/C-2321-Air_du_laboureur__;!!C5qS4YX3!WRHMGZiwDDvY
> > iuUAopJ1HQRa_GSvYvw46PEef_NStr_VD-xxdKPts3SLj1sv8Z2rqg$
> > >
> > Pre-holiday cheers to all,
> > Alex
> > Alex McGehee
> > ARSC Membership Committee, chair
> > > On Nov 9, 2021, at 1:31 PM, Gary A. Galo <
> > [log in to unmask]> wrote:
> > >
> > > I have a couple of comments about this compilation, and I'm sure
> > > other
> > members will have some of their own.
> > >
> > > Stokowski's Brahms Hungarian Dance No. 5 was not the first recording
> > > of
> > a full symphony orchestra, not even on Victor, and not even in the
> > United States. Karl Muck and the Boston Symphony Orchestra made their
> > first records for Victor 3 weeks before Stokowski, because Stokowski
> > initially rejected Victor's offer to make records. The first was the
> > 4th movement of Tchaikovsky's 4th Symphony, and utilized the entire
> > Boston Symphony Orchestra. The dates can be confirmed on DAHR. And,
> > Charles Prince conducted an orchestra of 90 players for Columbia
> > performing Wagner's Rienzi Overture in February of 1917. Again, DAHR
> > can confirm the date and the number of musicians involved (the number
> > is also given on the record label).
> > >
> > > Also, though some might view it as a technicality, Vesti la Giubba
> > > is
> > not a song, it's an opera aria.
> > >
> > > Best,
> > > Gar
> > >
> > >
> > > Gary Galo
> > > Audio Engineer Emeritus
> > > The Crane School of Music
> > > SUNY at Potsdam, NY 13676
> > >
> > > "Great art presupposes the alert mind of the educated listener."
> > > Arnold Schoenberg
> > >
> > > "A true artist doesn't want to be admired, he wants to be believed."
> > > Igor Markevitch
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