What a shame this isn't complete (what's omitted is at least the running time of what was recorded). Wonderfully alive, pointed playing and shaping. Better than Koussevitsky's BSO winds (and leadership) and Furtwangler's as well. Awfully good transfer.
Interesting that it says "Recorded in Europe" - by 1941, we don't want to get too specific about where! Incidentally, Stokowski's recording of this work was made in the late '60's, not the '40's. It was Furtwaengler who recorded it in the '40's.
Can this recording be the precursor of a sprinkling of later recordings in the 1940s of this masterwork, by Stokowski, and Koussevitzsky, doubtless meant to show off the winds and horns of their respective orchestras. I make the assumption that the players are culled from the Berlin Philharmonic. It would be wonderful to have a list of the performers; a sad omission of recordings of this time. IF, however the players ARE named in the liner notes that accompanied in the sleeves these 78 rpm masters, I would beg those who reproduce these historical documents to include them.
I'm sorry to say, the booklet that came with the records doesn't give the players' names either. Your assumption that they are Berlin Philharmonic players is probably as good a guess as any.
During the "30s Edwin Fischer worked with a chamber orchestra that was the elite drawn from the already elite membership of the Berlin Philharmonic. There are some wonderful recordings, not the least of which is Haydn's London Symphony [1938], and three Bach keyboard concertos [1933 to 1938] - all credited as being played by the Edwin Fischer Chamber Orchestra and given Matix numbers in the "RA" series, indicating the recordings were made in Germany. Fischer would abandon his Berlin base fairly early in the Second World War, but in September 1939, no real doubt that this is the wind section of the BPO in top form and recorded in Germany. The Matrix number are those that designate a German recording of HMV when VH meant Vienna, RA meant Germany and EA meant England. No real room for doubt about who and where recorded, based on the practices of the preceding ten years. Best wishes from George
Thank you very much .
What a shame this isn't complete (what's omitted is at least the running time of what was recorded). Wonderfully alive, pointed playing and shaping. Better than Koussevitsky's BSO winds (and leadership) and Furtwangler's as well. Awfully good transfer.
Interesting that it says "Recorded in Europe" - by 1941, we don't want to get too specific about where! Incidentally, Stokowski's recording of this work was made in the late '60's, not the '40's. It was Furtwaengler who recorded it in the '40's.
Can this recording be the precursor of a sprinkling of later recordings in the 1940s of this masterwork, by Stokowski, and Koussevitzsky, doubtless meant to show off the winds and horns of their respective orchestras. I make the assumption that the players are culled from the Berlin Philharmonic. It would be wonderful to have a list of the performers; a sad omission of recordings of this time. IF, however the players ARE named in the liner notes that accompanied in the sleeves these 78 rpm masters, I would beg those who reproduce these historical documents to include them.
I'm sorry to say, the booklet that came with the records doesn't give the players' names either. Your assumption that they are Berlin Philharmonic players is probably as good a guess as any.
During the "30s Edwin Fischer worked with a chamber orchestra that was the elite drawn from the already elite membership of the Berlin Philharmonic. There are some wonderful recordings, not the least of which is Haydn's London Symphony [1938], and three Bach keyboard concertos [1933 to 1938] - all credited as being played by the Edwin Fischer Chamber Orchestra and given Matix numbers in the "RA" series, indicating the recordings were made in Germany.
Fischer would abandon his Berlin base fairly early in the Second World War, but in September 1939, no real doubt that this is the wind section of the BPO in top form and recorded in Germany. The Matrix number are those that designate a German recording of HMV when VH meant Vienna, RA meant Germany and EA meant England.
No real room for doubt about who and where recorded, based on the practices of the preceding ten years.
Best wishes from George
may we assume that the omissions are due in some sense to limitations of shellack-space?
Yes, you may.