Philadelphia Orchestra’s ‘World’s Greatest Music’ is being rediscovered

The Philadelphia Orchestra, long at the forefront of recording technology, once embarked on a less glorified but highly successful—arguably unprecedented—marketing effort that is only now being revealed, heard and appreciated 80 years later.

Bach, Mozart, Beethoven, and Brahms were the selling points for a series of budget label recordings (1938-1940) marketed and distributed through a publishing arm of the New York Post. Artists like the Philadelphia Orchestra were not on the list, but now they are. A double-disc set titled Ormandy and the Philadelphia Orchestra, The Early Years ∙ Volume 5 It is being released by Pristine Classical, a France-based record label specializing in the restoration of pre-1960s recordings. It is the last in a series of Ormandy records that have long been withdrawn from circulation and can be ordered by mail or digital download. at pristineclassical.com/products/pasc726 about 20 dollars.

Titled “The World’s Greatest Music”, this series eventually spanned 38 discs (78 rpm) and was based on the idea that an aspirational brand plus low overhead costs could appeal to a broad audience who had only heard of it. Toscanini. And it worked.

By 1940 the series had reportedly sold more than 1 million discs. It was not fully explained why the orchestras performing were kept anonymous. Perhaps to prevent these recordings from undercutting other Philadelphia Orchestra productions out there? Later, Reader’s Digest picked up on the idea with a series of now-acclaimed, British-made records for which all artists were praised. In our time BBC Music Magazine has arrived with a free recording from the BBC vaults.

With the long-forgotten “World’s Greatest Music” series now rediscovered, the identities of the artists have been revealed drip by drop over the decades. Opera excerpts included major stars such as Rose Bampton, as well as now-iconic names such as conductors Fritz Reiner and William Steinberg, and orchestras such as the New York Philharmonic and NBC Symphony. The recordings were underground documentation of America emerging from the Great Depression, great German musicians escaping Hitler raising musical standards in the United States, and East Coast classical music events revived by Walt Disney. Rite of Spring in the movie Fantasy.

In the midst of all this, the Philadelphia Orchestra was operating at peak efficiency under the direction of its then-new leader, Eugene Ormandy.

“Since the works were all standard repertoire, it was assumed that the musicians knew them well; and to keep costs down, the sessions were probably very lightly rehearsed,” said Mark Obert-Thorn, a former Philadelphia sound restoration specialist and producer for Pristine Classical, which spearheaded the discovery of old Ormandy recordings. “Only a handful of sides needed more than one take, but that It wasn’t an unusual situation for Ormandy and the Philadelphians.

According to recordings researched by sound archivist Michael H. Gray, the orchestra knocked out Bach’s work during the session on November 11, 1938. Brandenburg Concerto No. 2 And 3plus Mozart’s Symphony No. 40 in just three hours. Although the size of the orchestra was reduced to save money – 74 players for Brahms’s Symphony No.2musicians — about two-thirds of the usual contingent — included two names that have long left orchestra followers misty-eyed: the flautist William Kincaid and oboist Marcel Tabuteau.

It’s no wonder the Bach performances have endured so well, but Kincaid and Tabuteau aren’t the only ones.

The clunky tempo and uninformed phrasing of Bach performances from this period are not heard here. Brandenburg Concerto No. 2, inside An extremely insightful read that also captures a version of Philadelphia music that remains enticing 80-plus years later. Mozart’s symphony and Beethoven Symphony No.5 Both are good middle-of-the-road performances that ignite the spirit of live performances; This isn’t surprising given the scarcity of reshoots.

in Schubert Symphony No.8 (“Unfinished”) and Brahms Symphony No.2 The influence of Leopold Stokowski, the main architect of the lush Philadelphia sound, is especially felt, he was also an advocate of free springing between the strings, which gave the sound a distinctive sparkle. And it’s still there. Particularly in Brahms one hears the graceful portamento, a style of phrasing that combines notes into a longer melodic line; this is II. It is a practice that disappeared after World War II.

One wonders why such outstanding musicians are involved in such a “down market” situation. Many reasons. The “World’s Greatest Music” series was produced by RCA Victor, which was the orchestra’s own record label at the time. Maybe there is institutional pressure there? Ormandy himself was not yet a drawing card. He was emerging from the shadow of Stokowski, who was still visiting the orchestra and shaking hands with Mickey Mouse. Fantasyand I gave up on having a love affair with Greta Garbo.

Also, the Philadelphia Orchestra’s full-time position wasn’t what it is at the time. For many classical musicians, freelancing in New York was more lucrative. And these “World’s Greatest Music” sessions, which were undoubtedly cheaper to run at the Philadelphia Academy of Music than in New York, were a source of quick money for musicians, especially when they didn’t have to go to the RCA studios across the river in Camden.

But there is never the feeling that the orchestra is on autopilot. Although perhaps humble in origin, these recordings, newly restored and heard in much better sound than one might expect from this period, are not only an important chapter in the orchestra’s history, but also a thoroughly enjoyable one.