FREDERICK STOCK and the Chicago Symphony, Vols. 1-6 (1930-41) - PABX050

overviewfb55cd020f0643f08418183279e63a5f BACH Prelude and Fugue in E-flat, “St. Anne” BACH Toccata and Fugue in D minor BENJAMIN Overture to an Italian Comedy BRAHMS Piano Quartet No. 1 CHAUSSON Symphony in B-flat DVOŘÁK Carnival Overture DVOŘÁK In Nature’s Realm ELGAR Enigma Variations GLAZUNOV The Seasons GLINKA Ruslan and Ludmila - Overture GOLDMARK Rustic Wedding Symphony GRIEG Peer Gynt excerpts MENDELSSOHN A Midsummer Night’s Dream excerpts R. STRAUSS Also Sprach Zarathustra R. STRAUSS Aus Italien - On the Shores of Sorrento SAINT-SAËNS Danse macabre SMETANA The Bartered Bride - Overture STOCK Symphonic Waltz TCHAIKOVSKY 1812 Overture TCHAIKOVSKY Marche slave WAGNER Siegfried - Forest Murmurs WAGNER Die Meistersinger - Prelude plus music by: Bizet, Carey, Dohnányi, Enescu, François Schubert, Glière, Handel, Ippolitov-Ivanov, J. Strauss II, Järnefelt, Liadov, MacDowell, Meacham, Mozart, Paganini, Ponchielli, Rezniček, Rimsky-Korsakov, Schubert, Schumann, Sibelius, Simonetti, Suk, Suppé, Thomas, Toch, Volkmann, Walton, Weber and Wolf-Ferrari Studio recordings, 1930-1941 Chicago Symphony Orchestra conducted by Frederick Stock 578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples/PASC771.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5fClick below to expand note: FREDERICK STOCK and The Chicago Symphony, Volume 1 (1916-1926) - PASC657 This release is the first in a series devoted to longtime Chicago Symphony Orchestra music director Frederick Stock, and celebrates the 150th anniversary of his birth. All of Stock’s symphonic recordings will be featured in upcoming volumes (his four concerto recordings have already been well-covered on CD reissues), presented in the order in which they were recorded. Many items have not been available since the 78 rpm era. In this volume, all of the acoustics except for the Mendelssohn are being reissued for the first time, as are the electrics of the Dvořák and Thomas overtures and two Strauss waltzes. Stock was born in Jülich, Germany, on 11 November 1872. His father, an army bandmaster, provided his early musical training. He entered Cologne Conservatory at the age of fourteen studying violin and composition; among his teachers was Humperdinck, and Willem Mengelberg was a classmate. Upon his graduation in 1890, he joined the Municipal Orchestra of Cologne as a violinist. Five years later, he auditioned for the visiting Theodore Thomas, who was recruiting players for his four-year-old Chicago Orchestra. Thomas hired him initially as a violist, but within four years he recognized Stock’s conducting talent and made him his assistant. When Thomas died suddenly in January, 1905, Stock served as interim music director while the orchestra board attempted to secure the services of such well-known European conductors as Weingartner, Richter and Mottl. When the board’s efforts failed, Stock was appointed for a trial year. He was to remain music director until his death thirty-seven years later (20 October 1942), a record surpassed among major American orchestras only by Ormandy’s tenure with the Philadelphia, and by few other conductor/orchestra combinations throughout the world (Mengelberg/Concertgebouw, Mravinsky/Leningrad). Stock’s recording career divides neatly into three periods. His Columbia acoustics of 1916-17 (the first recordings made by a credited American orchestra under its own music director) were succeeded, after an eight-year hiatus, by a series of electrical recordings for Victor (1925-30) which included Bach’s B Minor Suite, a Mozart 40th, Schumann’s “Spring” Symphony and Tchaikovsky’s Fifth. After another nine-year absence from the microphone, Stock and the Chicago Symphony rejoined Columbia for two seasons (1939-40 and 1940-41) for an extensive string of recordings including a Mozart “Prague”, the Schubert 9th, the Schumann Fourth, Brahms’ Third and Tragic Overture, Tchaikovsky’s Nutcracker Suite, Strauss’ Also Sprach Zarathustra and numerous short “popular” works, as well as concerto recordings with Milstein and Piatigorsky. Returning to Victor for what turned out to be his final full season with the orchestra (1941-42), he made two much-admired Beethoven concerto recordings with Schnabel, as well as Dvořák’s In Nature’s Realm and the Chausson Symphony. The acoustics and early electrics presented in this volume benefit from the lack of re-scoring typical of other recordings of the era, in which tubas reinforced the bass line and other instruments that “projected” better were substituted for the original choices. Only the Parsifal excerpt seems to be notably lacking in tympani support, which is nonetheless heard elsewhere among the acoustics. The sound on these reveals a reduced ensemble in small venues; yet the well-disciplined playing of the orchestra is apparent even in the earliest recordings. By the time of their first sessions with the full ensemble in the rather over-reverberantly recorded Orchestra Hall, the Chicago Symphony’s stature among the world’s great ensembles has been firmly established, as has their conductor’s rhythmically flexible and vital interpretive approach. The sources for the transfers were American Columbia “Tri-Color” label pressings for the acoustics, and mainly “Z” and “Gold” label Victor pressings for the electrics except for the Brahms, which came from a vinyl test pressing. The second side of the Thomas overture and the Handel and Elgar recordings were dubbed very early on in order to prevent blasting on the heavy pickups of the day. These are presented here from undubbed first edition “Orthophonic” pressings, which, though somewhat heavier in surface noise, better preserve the immediacy and dynamic range of the original recordings. Mark Obert-Thorn FREDERICK STOCK and The Chicago Symphony, Volume 2 (1925-1929) - PASC684 This release is the second in a series devoted to longtime Chicago Symphony Orchestra music director Frederick Stock, inaugurated to celebrate the 150th anniversary of his birth in 1872. All of Stock’s symphonic recordings will be featured in upcoming volumes (his four concerto recordings have already been well-covered on CD reissues), presented for the most part in the order in which they were recorded. Several items have not been available since the 78-rpm era (here, the Dvořák, Glinka, Glazunov and Smetana works). The Strauss waltz is making its CD/digital debut, while the 1925 recording of the Suk is being released for the first time. We depart from our chronological presentation for our opening two selections. The Bach was recorded immediately after the Glinka; but as the only Baroque-era item on our program, it seemed to fit better as the opening number. Stock’s approach, though still using a large orchestra with modern instruments, anticipates later “HIP” trends toward swifter tempi, and diverges from the more monumental contemporaneous Bach recordings of Mengelberg in the same score (in Pristine PASC 595) and Stokowski in the Brandenburg Second (although the mad dash through the Bourées sounds as though it was at least partially dictated by side length restrictions). Following this is a rarity: the first publication of an unissued recording by Stock and the CSO. During their December, 1925 sessions, this Intermezzo from Josef Suk’s Fairy Tale Suite was recorded on a 10-inch side with a reduced orchestra in a small venue. No coupling for it was taken down at the time, so it was not immediately released. A year to the day later, the piece was re-recorded in Symphony Hall with the full orchestra on a 12-inch side, and the earlier version was forgotten. It did not surface in time to be included in its proper place in our previous volume (but better 98 years late than never!) Hearing it next to its remake allows us to appreciate the advancement that electrical recording techniques had made in just one year. Perhaps because of the over-reverberant acoustics of Orchestra Hall in the 1926 recordings, sessions for the following two years were moved to the smaller Goodman Theatre. The orchestra’s entire recording schedule for 1927 was devoted to a single work: the Tchaikovsky Fifth Symphony. The resulting album, though tonally full and detailed, was problematic, due to the frequent “gain-riding” of the recording engineer, which resulted in sudden volume changes throughout each side. (I have attempted to undo these manipulations in the present transfer.) Additionally, shortly after the album was released, the first side of the last movement was dubbed to avoid blasting when played using the heavy pickups of the day. An undubbed original Orthophonic pressing of this side was used here, while the rest of the sides came from quieter “Gold”-era pressings from the set’s reissue on Victor’s budget “Black Label” series (album G-4). (The Luftpause heard at 3:58 in the first movement is not a side-join error, but rather an interpretive mannerism Stock intended, as he repeats it in the middle of a side later on at 9:48.) At a time when not all of the Beethoven and Brahms symphonies were yet represented in the Victor catalog, it was an adventurous choice to record Dohnányi’s 1909 Suite in F-sharp, a work whose wide range (from a Brahmsian set of variations to a bravura, castanet-accompanied finale) seems to fit Stock and his ensemble to a “T”. The Wagner arrangement was made by Theodore Thomas, the Chicago Symphony's founder and Stock's predecessor as principal conductor. The Schumann Symphony was the only Stock/Chicago recording here to gain an “official” CD release on RCA, although that was marred by a notably sharp transfer (A4=450). The corrected speed here allows us to appreciate the performance in a less-hectic aspect than previously presented. Mark Obert-Thorn FREDERICK STOCK and The Chicago Symphony, Volume 3 (1929-1930) - PASC699 This release is the third in a series devoted to longtime Chicago Symphony Orchestra music director Frederick Stock, inaugurated to celebrate the 150th anniversary of his birth in 1872. All of Stock’s symphonic recordings will be featured in upcoming volumes (his four concerto recordings have already been well-covered on CD reissues), presented for the most part in the order in which they were recorded. Several items here have not been available since the 78-rpm era (the “Ballabile” from Glazunov’s Les ruses d’amour, the Strauss Emperor Waltz and the Wagner Lohengrin Prelude). Stock was born in Jülich, Germany, on 11 November 1872. His father, an army bandmaster, provided his early musical training. He entered Cologne Conservatory at the age of fourteen studying violin and composition; among his teachers was Humperdinck, and Willem Mengelberg was a classmate. Upon his graduation in 1890, he joined the Municipal Orchestra of Cologne as a violinist. Five years later, he auditioned for the visiting Theodore Thomas, who was recruiting players for his four-year-old Chicago Orchestra. Thomas hired him initially as a violist, but within four years he recognized Stock’s conducting talent and made him his assistant. When Thomas died suddenly in January, 1905, Stock served as interim music director while the orchestra board attempted to secure the services of such well-known European conductors as Weingartner, Richter and Mottl. When the board’s efforts failed, Stock was appointed for a trial year. He was to remain music director until his death thirty-seven years later (20 October 1942), a record surpassed among major American orchestras only by Ormandy’s tenure with the Philadelphia, and by few other conductor/orchestra combinations throughout the world (Mengelberg/Concertgebouw, Mravinsky/Leningrad). Stock’s recording career divides neatly into three periods. His Columbia acoustics of 1916-17 were succeeded, after an eight-year hiatus, by a series of electrical recordings for Victor (1925-30) which included Bach’s B Minor Suite, a Mozart 40th, Schumann’s “Spring” Symphony and Tchaikovsky’s Fifth. After another nine-year absence from the microphone, Stock and the Chicago Symphony rejoined Columbia for two seasons (1939-40 and 1940-41) for an extensive string of recordings including a Mozart “Prague”, the Schubert 9th, the Schumann Fourth, Brahms’ Third and Tragic Overture, Tchaikovsky’s Nutcracker Suite, Strauss’ Also Sprach Zarathustra and numerous short “popular” works, as well as concerto recordings with Milstein and Piatigorsky. Returning to Victor for what turned out to be his final full season with the orchestra (1941-42), he made two much-admired Beethoven concerto recordings with Schnabel, as well as Dvořák’s In Nature’s Realm and the Chausson Symphony. In the works presented in this volume, Stock returned to some composers who featured again and again in his recordings – Glazunov, Goldmark, Johann Strauss II and Wagner – while adding two who were new to his discography, Mozart and the conductor himself. Stock only recorded two Mozart works, the G minor Symphony heard here and the “Prague” Symphony, which he recorded for Columbia in 1939. His approach here is relatively straightforward, in the tradition of the large modern orchestra performances of the time, with just a few touches of string portamento to betray his Romantic-era roots. Like many conductors of his generation, Stock also kept up an active composing life, producing symphonies, concertos and other types of orchestral works, many of which he premièred with the Chicago Symphony. Only one of these was recorded under his baton, his Symphonic Waltz of 1907, which looks back at the waltzes of Johann Strauss (whose Wine, Women and Song is quoted in the work) even as it seems to look forward to the dense orchestration and harmonies of Richard Strauss’ Der Rosenkavalier and the dreamlike diversions of Ravel’s La valse. The economic depression which hit the United States in October, 1929 led the Victor label to severely curtail their program of Classical recording. The works heard here were the last that Stock and the Chicago Symphony would set down on disc for nine years. When they appeared once more before the microphone, they were back with their original label, Columbia. But that is a story for another volume . . . Mark Obert-Thorn FREDERICK STOCK and The Chicago Symphony, Volume 4 (1939-1940) - PASC721 After Frederick Stock’s December, 1930 sessions with the Chicago Symphony for Victor, the label essentially shut down its symphonic recording program, due to the economic exigencies of the Great Depression. For the next few years, only Stokowski’s Philadelphia Orchestra was recorded with any regularity, and that was only made possible by the use of drastically reduced forces playing in a small studio. While the Boston Symphony and New York Philharmonic came back to the fold after a few years, the Chicago Symphony remained unrecorded for nearly a decade. In November of 1939, Stock and the Chicagoans rejoined their original label, Columbia, for a new set of recordings. The move came at an auspicious moment, for the label had just begun recording directly on lacquer master discs, where a wider frequency range than previously available on shellac discs could be captured. Indeed, the first item of their first session (the Nutcracker Suite) was the first such master recording Columbia made. Although at the time the lacquers were used for dubbing to standard wax 78 rpm masters, they later serendipitously proved to be a sonically superior source for transfer to LPs. The present reissue utilizes, wherever possible, the early 1950s remasterings for Columbia’s Entré LP series, taken from quiet, high-quality lacquer masters, as the basis for new restorations. Although most of Stock’s Chicago recordings from this period were reissued in this series, a few never appeared on LP, including Also Sprach Zarathustra and the Euryanthe Overture. These have been transferred from their only published source, sonically compromised 78 rpm shellac dubs. The Chicago Symphony that we hear on these recordings is a bit different from the ensemble on the 1925-30 Victor series. Playing practices had changed over the prior decade, with string portamento now being used more sparingly and discreetly. The now 67-year-old Stock conducts with his customary high energy; but there are fewer examples of the kind of willful, idiosyncratic touches he displayed in, for example, his 1927 Tchaikovsky Fifth (although he still inserts Luftpausen to divide sections in the outer movements of the Mozart “Prague”). His interpretations have seemed to move a bit more to a somewhat objective middle – if not quite Toscaniniesque, then at least prefiguring what Fritz Reiner would later bring to this orchestra. Mention of Reiner begs the observation that Stock was the first conductor to record Also Sprach Zarathustra with the Chicago Symphony, a tradition which was to continue under music directors Artur Rodzinski (reissued on Pristine PASC 569), Fritz Reiner (twice – 1954, on PASC 411, and 1962) and Sir Georg Solti, as well as Pierre Boulez. Concertmaster John Weicher played the violin solos on the first three recordings. Stock brings a thoroughly idiomatic sweep and drama to this score (which, oddly, never saw a Columbia LP reissue, even though there was not another recording of the work in the label’s catalog). It is interesting to see so much of the repertoire that was associated with Leopold Stokowski’s best-selling recordings with the Philadelphia Orchestra chosen for Stock’s Columbia sessions (here, the Nutcracker Suite, Swan of Tuonela, Danse Macabre, even Procession of the Sardar ). One wonders whether Columbia saw Stock as a good marketing match to counter Stokowski’s Victor repertoire. Along with Zarathustra, the Schubert Ninth takes pride of place among the works presented here as one of Stock’s finest interpretations on disc. Fanfare critic Mortimer Frank called it “a superb account […] which, even in today’s heavy competition, would shine as one of the great recordings of the score.” Frank also called attention to “[t]wo aspects of the performance [that] are especially interesting: a march-like insistence in the second movement and the playing of the two final measures of the first movement strictly in tempo, thereby italicizing their motivic relationship to what has preceded. Toscanini, so far as I can recall, was the only other conductor on record to do this […]”. The recording dates shown are taken from the late Don Tait’s unpublished CSO discography, which utilized data from Columbia’s recording logs, some of which was missing or ambiguous. The matrix and take numbers of the issued 78s bear no relationship to the lacquer masters, and were assigned at the time of dubbing. Mark Obert-Thorn FREDERICK STOCK and The Chicago Symphony, Volume 5 (1940-1941) - PASC749 The current volume of our series devoted to Frederick Stock’s purely orchestral recordings with the Chicago Symphony begins with his final recordings for Columbia, as well as the first disc made upon his return to Victor at the end of 1941, placed here because it would not have fit with his remaining late Victors on the single release that will conclude this series. Between the end of Volume 4 and the first work on this volume, Stock made his only two concerto recordings for Columbia. On the same day (6 March 1940), he set down the Tchaikovsky Violin Concerto with Milstein and the Saint-Saëns Cello Concerto No. 1 with Piatigorsky. As both of these have seen several CD reissues already, they are omitted from this series. The next session, held on 23 November 1940, featured Stock’s only electrical recording made in New York while the orchestra was on tour, the Brahms Third Symphony. Stock’s reading here, like many of the other performances on this release, is filled with an energy and forward momentum that belies his reported health problems which had led to the engagement of Toscanini’s assistant from the New York Philharmonic, Hans Lange, to join the CSO as assistant conductor several years earlier to help shoulder the workload. The remaining Columbias in this release were all set down during two very fruitful days of recording the following year, Friday and Saturday April 25th and 26th, 1941. These were given over to recording mainly shorter pieces (overtures and “pops” material), with the only extended work being the Schumann Fourth. It is noteworthy that of the seven complete symphonies Stock recorded over his career, two were by Schumann (this and the 1929 Victor recording of the “Spring” Symphony on Volume 2 (PASC 684)). By this time in his career, Stock’s approach had changed from the rather gemütlich approach of the earlier recording to a more driven, Toscanini-like reading, entirely appropriate to this more dramatic score. Stock’s largely conservative discography might blind us to the fact that he was a champion of contemporary repertoire throughout his career. He was the first to perform the Mahler Seventh in the USA; and a year after Stokowski had given the American première of the Eighth in Philadelphia in 1916, Stock programmed it in Chicago. In 1921, he conducted the world première of Prokofiev’s Piano Concerto No. 3 with the composer as soloist, and was the first to champion Florence Price by conducting her First Symphony in 1933. For the orchestra’s 50th season (1940-41), Stock commissioned a number of famous composers to contribute new works to be premièred by the ensemble, including Stravinsky’s Symphony in C, Miaskovsky’s Symphony No. 21, Kodaly’s Concerto for Orchestra and Milhaud’s First Symphony. The only work which Stock recorded from this endeavor was Walton’s Scapino Overture. Scapino was an Italian Commedia dell’Arte figure known to escape scrapes and close calls with his wits, and Walton constructed an aptly fleet work to showcase him. This disc, recorded three weeks after its première on 3 April 1941, utilizes the original scoring for large orchestra. In 1950, Walton revised the score for smaller forces in a version that was first given by Furtwängler and the Philharmonia Orchestra that year. The work is close in spirit to Arthur Benjamin’s “Overture to an Italian Comedy” which closes this release, although the Benjamin predated the Walton by several years. As far as the rest of the repertoire goes, Glazunov must have been one of Stock’s favorite composers, because his works are featured in his discography as far back as his early acoustic recordings as well as in his late-Twenties Victors. Here, he gets to record three full discs of the composer’s works. The Liadov was never issued on 78s, probably because it was an “odd side” that didn’t have a coupling. And Stock’s arrangement of Paganini’s “Moto Perpetuo”, with its quotations from Beethoven’s Eroica/Prometheus music in counterpoint, is much cleverer than Toscanini’s more straightforward all-string arrangement recorded two years earlier. Our next volume will be the final one in this series, featuring the remainder of Stock’s non-concerto Victors from 1941. Mark Obert-Thorn FREDERICK STOCK and The Chicago Symphony, Volume 6 (1941) - PASC771 This final volume of our series devoted to Frederick Stock’s purely orchestral recordings with the Chicago Symphony features the remainder of the sides made during his December, 1941 Victor sessions other than Arthur Benjamin’s Overture to an Italian Comedy, which was placed at the end of the prior volume due to timing constraints. Stock’s compositional efforts include several transcriptions, a few of which he recorded in Chicago going back to the acoustic era. The Bach “St. Anne” Prelude and Fugue is the most ambitious of the works that he orchestrated to see release on disc, and is more opulently scored than Arnold Schoenberg’s take on the same work (which that composer conducted with the CSO in 1934). One other Stock transcription from these sessions, an electric remake of his arrangement of “The Star-Spangled Banner”, has never been released and is believed to be lost. Stock made few Wagner recordings, but what he did leave behind was memorable. The “Forest Murmurs” from Siegfried was meant to replace Mengelberg’s 1928 New York recording in the Victor catalog, yet for unknown reasons it was never issued on 78s. It has been transferred here from a vinyl test pressing. Although Stock excelled in the rhythms and color of such middle European repertoire as that of Dvořák, Smetana and Suk, he recorded comparatively little of it. In these sessions, having already set down the middle part of Dvořák’s “Nature, Life and Love” triptych (the Carnival Overture, in Volume 1), he now assayed the first section, In Nature’s Realm. These, along with a single Slavonic Dance (in Volume 2) were his only Dvořák recordings. It was issued on three sides, and having no appropriate new filler, was released with a reissue of his 1926 recording of a movement from Suk’s Fairy Tale Suite. The Chicago Symphony’s long association on disc with the music of Richard Strauss began during Stock’s tenure. Yet, despite strong performances of Also Sprach Zarathustra (on Volume 4) and a live broadcast of Till Eulenspiegel, the single movement from the composer’s early work Aus Italien is the total of Stock’s Strauss on disc. The conductor’s way with the graceful swooping of the birds over Sorrento makes one wish Victor had recorded the entire score. Chausson’s only symphony has never achieved the popularity of that of his teacher and mentor César Franck, on which it is clearly modeled. Only three recordings of it were made during the entire 78 rpm era; but Stock’s is the best played, best recorded and arguably the most persuasively interpreted of the lot. His passionate reading makes a strong case for this underrated score, and also includes a surprise in the third movement: Stock rescores the solo trumpet-led chorale theme toward the end for the organ, in a nod to Saint-Saëns’ Third Symphony (or perhaps Tchaikovsky’s Manfred, where it appears in a similar place), a substitution not to be found in any other recording. Stock returned for two more Victor sessions in July of 1942, recording the Beethoven Fourth and Fifth (“Emperor”) Concertos with Artur Schnabel, performances which have stayed in the catalog for much of the time since and are not included in this series. He died three months later, ending a 47-year association with the Chicago Symphony, 37 of it spent as its music director, one of the longest tenures of any conductor-orchestra association in history. Mark Obert-Thorn 578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5fClick below to expand track listing: FREDERICK STOCK and The Chicago Symphony, Volume 1 (1916-1926) - PASC657 FREDERICK STOCK and The Chicago Symphony, Volume 1 CD 1 Columbia Acoustics, 1916 - 1917 (74:53) 1. MENDELSSOHN Wedding March from A Midsummer Night’s Dream , Op. 61 (4:28) Recorded 1 May 1916 ∙ Matrix: 48763-2 ∙ First issued on Columbia A5844 2. WAGNER Ride of the Valkyries from Die Walküre (4:36) Recorded 1 May 1916 ∙ Matrix: 48764-2 ∙ First issued on Columbia A5903 3. GRIEG The Last Spring from Two Elegiac Melodies, Op. 34 (4:39) Recorded 2 May 1916 ∙ Matrix: 48766-2 ∙ First issued on Columbia A5844 4. SAINT-SAËNS Bacchanale from Samson et Dalila , Op. 47 (4:14) Recorded 2 May 1916 ∙ Matrix: 48770-1 ∙ First issued on Columbia A5903 5. TCHAIKOVSKY Waltz from Sleeping Beauty (4:16) Recorded 2 May 1916 ∙ Matrix: 48772-1 ∙ First issued on Columbia A5860 6. JÄRNFELT Praeludium (2:31) 7. FRANÇOIS SCHUBERT The Bee from Bagatelles, Op. 13, No. 9 (1:48) Recorded 2 May 1916 ∙ Matrix: 48776-3 ∙ First issued on Columbia A6014 8. BIZET Carmen – Prelude to Act 4 (Aragonaise) (2:08) 9. BIZET L’Arlésienne – Farandole (1:19) Recorded 8 May 1916 ∙ Matrix: 48794-2 ∙ First issued on Columbia A5860 10. WAGNER Parsifal – Processional of the Knights of the Holy Grail (4:25) Recorded 8 May 1916 ∙ Matrix: 48796-1 ∙ First issued on Columbia A5894 11. WAGNER Lohengrin – Prelude to Act 1 (4:23) Recorded 8 May 1916 ∙ Matrix: 48803-2 ∙ First issued on Columbia A5894 12. SUPPÉ Poet and Peasant – Overture (7:30) Recorded 14 & 15 May 1917 ∙ Matrices: 49193-2 & 49194-2 ∙ First issued on Columbia A5991 13. J. STRAUSS II Thousand and One Nights – Waltz, Op. 346 (4:22) Recorded 14 May 1917 ∙ Matrix: 49195-2 ∙ First issued on Columbia A6005 14. WOLF-FERRARI Jewels of the Madonna - Intermezzo (3:10) Recorded 15 May 1917 ∙ Matrix: 49201-2 ∙ First issued on Columbia A6014 15. SIMONETTI (orch. Stock) Madrigale (2:16) 16. SCHUBERT (orch. Stock) Moment musical, D.780, No. 3 (1:48) Recorded 16 May 1917 ∙ Matrix: 49203-2 ∙ First issued on Columbia A6026 17. GLAZUNOV Les Ruses d’Amour, Op. 61 - Waltz (4:29) Recorded 16 May 1917 ∙ Matrix: 49204-1 ∙ First issued on Columbia A6026 18. J. STRAUSS II Voices of Spring – Waltz, Op. 410 (4:20) Recorded 16 May 1917 ∙ Matrix: 49207-1 ∙ First issued on Columbia A6005 19. SMITH (orch. Stock) The Star-Spangled Banner (2:39) 20. CAREY (orch. Stock) America (1:23) Recorded 28 May 1917 ∙ Matrix: 49205-1 ∙ First issued on Columbia A5977 21. MEACHAM American Patrol – March (3:57) Recorded 28 May 1917 ∙ Matrix: 49206-2 ∙ First issued on Columbia A5977 CD 2 Victor Electrics – 1925 - 1926 (75:43) 1. DVOŘÁK Carnival – Overture, Op. 92 (8:51) Recorded 19 December 1925 ∙ Matrices: CVE 34049-2 & 34050-2 ∙ First issued on Victor 6560 2. GOLDMARK In Springtime – Overture, Op. 36 (8:30) Recorded 20 December 1925 ∙ Matrices: CVE 34054-4 & 34055-5 ∙ First issued on Victor 6576 MAC DOWELL (orch. Stock) Woodland Sketches, Op. 51 3. No. 6: To a Water Lily (2:56) 4. No. 1: To a Wild Rose (2:21) Recorded 22 December 1925 ∙ Matrices: BVE 34065-5 & 34066-4 ∙ First issued on Victor 1152 5. SIBELIUS Valse triste from Kuolema, Op. 44 (4:14) Recorded 22 December 1925 ∙ Matrix: CVE 34067-3 ∙ First issued on Victor 6579 6. VOLKMANN Waltz from Serenade for String Orchestra, Op. 63 (3:07) 7. RIMSKY-KORSAKOV Flight of the Bumble-Bee from Tsar Sultan (1:27) Recorded 22 December 1925 ∙ Matrix: CVE 34068-3 ∙ First issued on Victor 6579 8. WAGNER Die Meistersinger von Nürnberg – Prelude to Act 1 (9:09) Recorded 20 December 1926 ∙ Matrices: CVE 37270-7 & 37271-6 ∙ First issued on Victor 6651 9. J. STRAUSS II – Wine, Women and Song – Waltz, Op. 333 (4:41) Recorded 20 December 1926 ∙ Matrix: CVE 37272-4 ∙ First issued on Victor 6647 10. J. STRAUSS II – Roses from the South – Waltz, Op. 388 (4:44) Recorded 21 December 1926 ∙ Matrix: CVE 37274-2 ∙ First issued on Victor 6647 11. THOMAS Mignon – Overture (7:59) Recorded 21 December 1926 ∙ Matrices: CVE 37275-2 & 37276-3 ∙ First issued on Victor 6650 BRAHMS (orch. Dvořák) Hungarian Dances 12. No. 17 in F sharp minor (1:57) 13. No. 18 in D major (1:07) 14. No. 19 in B minor (1:44) 15. No. 20 in E minor (2:17) 16. No. 21 in E minor (1:20) Recorded 21 & 22 December 1926 ∙ Matrices: CVE 37277 & 37283 ∙ Unissued on 78 rpm 17. HANDEL – Largo from Serse (“Ombra mai fu”) (4:40) Walter P. Zimmermann, organ Recorded 22 December 1926 ∙ Matrix: CVE 37281-5 ∙ First issued on Victor 6648 18. ELGAR Pomp and Circumstance March No. 1, Op. 39 (4:31) Walter P. Zimmermann, organ Recorded 22 December 1926 ∙ Matrix: CVE 37282-3 ∙ First issued on Victor 6648 Frederick Stock ∙ Chicago Symphony Orchestra Producer and Audio Restoration Engineer: Mark Obert-Thorn Special thanks to Nathan Brown and Charles Niss for providing source material Recording locations: Columbia Studios, New York City (1916-17); Webster Hotel Ballroom, Chicago (1925); and Orchestra Hall, Chicago (1926) Total duration: 2hr 30:36 FREDERICK STOCK and The Chicago Symphony, Volume 2 (1925-1929) - PASC684 FREDERICK STOCK and The Chicago Symphony, Volume 2 CD 1 (76:59) J. S. BACH Suite No. 2 in B minor, BWV 1067 1. Ouverture: Grave; Allegro (7:32) 2. Rondeau: Allegro (1:40) 3. Sarabande: Andante (1:27) 4. Bourées I and II (1:29) 5. Polonaise: Moderato(2:33) 6. Menuet: Allegretto (0:37) 7. Badinerie: Allegro (1:27) Ernest Liegl (flute) Recorded 17 December 1928 ∙ Matrices: CVE 48765-2, 48766-2, 48767-3 & 48768-2 ∙ First issued on Victor 6914/5 8. SUK Intermezzo: Playing at Swans and Peacocks (No. 2 from Fairy Tale Suite, Op. 16) (first recording) (3:37) Recorded 22 December 1925 ∙ Matrix: BVE 34069-1 ∙ Previously unpublished 9. SUK Intermezzo: Playing at Swans and Peacocks (No. 2 from Fairy Tale Suite, Op. 16) (second recording) (3:42) Recorded 22 December 1926 ∙ Matrix: CVE 34069-2 ∙ First issued on Victor 6649 10. DVOŘÁK Slavonic Dance No. 8 in G minor, Op. 46 (4:05) Recorded 22 December 1926 ∙ Matrix: CVE 37284-2 ∙ First issued on Victor 6649 TCHAIKOVSKY Symphony No. 5 in E minor 11. 1st Mvt. – Andante – Allegro con anima (14:03) 12. 2nd Mvt. – Andante cantabile, con alcuna licenza (13:27) 13. 3rd Mvt. – Valse: Allegro Moderato (6:29) 14. 4th Mvt. – Andante maestoso – Allegro vivace (9:59) Recorded 19-20 December 1927 ∙ Matrices: CVE 41382-5, 41383-4, 41384-2, 41385-2, 41386-2, 41387-1, 41388-2, 41389-2, 41390-3, 41391-1, 41392-3 & 41393-3 ∙ First issued on Victor 6777/82 in album M-25 15. GLINKA Russlan and Ludmilla – Overture (4:44) Recorded 17 December 1928 ∙ Matrix: CVE 48764-2 ∙ First issued on Victor 7123 CD 2 (77:07) DOHNÁNYI Suite in F-sharp minor, Op. 19 1. 1st Mvt. – Andante con variazioni (9:29) 2. 2nd Mvt. – Scherzo: Allegretto vivace (4:16) 3. 3rd Mvt. – Romanza: Andante poco mosso – Poco più mosso – Tempo I (4:38) 4. 4th Mvt. – Rondo: Allegro vivace – Andante – Tempo I (7:21) Recorded 18-19 December 1928 ∙ Matrices: CVE 48769-2, 48770-1, 48771-2, 48772-3, 48773-2 & 48774-2 ∙ First issued on Victor 6991/3 in album M-47 5. GLAZUNOV Pas d’action (from Scènes de ballet, Op. 52) (4:29) Recorded 19 December 1928 ∙ Matrix: CVE 48775-1 ∙ First issued on Victor 7309 in album M-86 6. WAGNER (arr. T. Thomas) Träume (No. 5 from Wesendonck Lieder (4:16) Recorded 19 December 1928 ∙ Matrix: CVE 48776-1 ∙ First issued on Victor 7123 7. J. STRAUSS II Du und du (Waltzes from Die Fledermaus) (6:16) Recorded 17 December 1929 ∙ Matrices: BVE 57266-4 & 57267-3 ∙ First issued on Victor 1481 8. SMETANA The Bartered Bride - Overture (6:40) Recorded 17 December 1929 ∙ Matrices: BVE 57268-3 & 57269-3 ∙ First issued on Victor 1555 SCHUMANN Symphony No. 1 in B-flat major, Op. 38, “Spring” 9. 1st Mvt. – Andante un poco maestoso (9:57) 10. 2nd Mvt. – Larghetto (5:58) 11. 3rd Mvt. – Scherzo (5:11) 12. 4th Mvt. – Allegro animato e grazioso (8:29) Recorded 17-18 December 1929 ∙ Matrices: CVE 57270-3, 57271-1, 57272-2, 57273-2, 57274-3, 57275-2 & 57276-1 ∙ First issued on Victor 7306/9 in album M-86 Frederick Stock ∙ Chicago Symphony Orchestra Producer and Audio Restoration Engineer: Mark Obert-Thorn Recording locations: Webster Hotel Ballroom, Chicago (1925) Orchestra Hall, Chicago (1926, 1929) Goodman Theatre, Chicago (1927, 1928) Total duration: 2hr 34:06 FREDERICK STOCK and The Chicago Symphony, Volume 3 (1929-1930) - PASC699 FREDERICK STOCK and The Chicago Symphony, Volume 3 GLAZUNOV Les ruses d’amour, Op. 61 1. Introduction et Scene I (4:48) 2. Ballabile des paysans et des paysannes (4:05) Recorded 18 December 1929 ∙ Matrices: CVE 57277-3 & 57278-1 ∙ First issued on Victor 7423 MOZART Symphony No. 40 in G minor, K.550 3. 1st Mvt. – Molto allegro (7:14) 4. 2nd Mvt. – Andante (8:07) 5. 3rd Mvt. – Menuetto: Allegro – Trio (4:13) 6. 4th Mvt. – Allegro assai (4:55) Recorded 22 December 1930 ∙ Matrices: CVE 56883-4, 56884-3, 56885-1, 56886-1, 56887-1 & 56888-2 ∙ First issued on Victor 7394/6 in album M-109 7. J. STRAUSS II Emperor Waltz (Kaiser-Walzer), Op. 437 (8:17) Recorded 23 December 1930 ∙ Matrices: CVE 56889-2 & 56890-2 ∙ First issued on Victor 7653 8. WAGNER Tannhäuser – Fest March (4:05) Recorded 23 December 1930 ∙ Matrix: CVE 56891-3 ∙ First issued on Victor 7386 9. GOLDMARK The Queen of Sheba – Ballet Music (9:31) Recorded 23 December 1930 ∙ Matrices: CVE 56892-2 & 56893-1 ∙ First issued on Victor 7474 10. WAGNER Lohengrin – Prelude to Act 3 (3:17) Recorded 23 December 1930 ∙ Matrix: CVE 56894-2 ∙ First issued on Victor 7386 11. STOCK Symphonic Waltz, Op. 8 (8:42) Recorded 23 December 1930 ∙ Matrices: CVE 56895-2 & 56896-2 ∙ First issued on Victor 7387 Frederick Stock ∙ Chicago Symphony Orchestra Producer and Audio Restoration Engineer: Mark Obert-Thorn All recordings made in Orchestra Hall, Chicago Total timing: 67:21 FREDERICK STOCK and The Chicago Symphony, Volume 4 (1939-1940) - PASC721 FREDERICK STOCK and the Chicago Symphony - Volume 4 CD 1 (74:58) TCHAIKOVSKY Nutcracker Suite, Op. 71a 1. Miniature Overture (3:05) 2. March (2:19) 3. Dance of the Sugar-Plum Fairy (1:41) 4. Russian Dance (Trepak) (1:05) 5. Arabian Dance (3:38) 6. Chinese Dance (1:10) 7. Dance of the Flutes (2:08) 8. Waltz of the Flowers (6:13) Recorded 28 November 1939 ∙ Matrices: WXCO 26302-2, 26303-2, 26304-2, 26305-2, 26306-5 & 26307-1 ∙ First issued on Columbia 69799/803-D in album M-395 MOZART Symphony No. 38 in D major, “Prague” K.504 9. 1st Mvt. - Adagio - Allegro (9:17) 10. 2nd Mvt. - Andante (9:13) 11. 3rd Mvt. - Finale (Presto) (3:55) Recorded 28 November 1939 ∙ Matrices: WXCO 26620-2, 26621-1, 26622-2, 26623-2, 26624-3 & 26625-3 ∙ First issued on Columbia 11252/4-D in album M-410 R. STRAUSS Also Sprach Zarathustra, Op. 30 12. Sonnenaufgang (Sunrise) (1:41) 13. Von den Hinterweltlern (Of the Backworldsmen) (3:42) 14. Von den großen Sehnsucht (Of the Great Longing) (1:40) 15. Von den Freuden und Leidenschaften (Of Joys and Passions) (1:52) 16. Das Grablied (The Song of the Grave) (2:03) 17. Von der Wissenschaft (Of Science and Learning) (4:27) 18. Der Genesende (The Convalescent) (4:09) 19. Das Tanzlied (The Dance Song) (7:10) 20. Nachtwandlerlied (Song of the Night Wanderer) (4:19) Recorded 17 January 1940 ∙ Matrices: WXCO 26327-1, 26328-1, 26329-1, 26330-1, 26331-3, 26332-1, 26333-1 & 26334-1 ∙ First issued on Columbia 11391/4 in album M-421 CD 2 (71:11) 1. SIBELIUS The Swan of Tuonela (from Lemminkäinen Legends, Op. 22) (8:07) Recorded 28 November 1939 or 17 or 24 January 1940 ∙ Matrices: WXCO 26720-1 & 26721-3 ∙ First issued on Columbia 11388-D 2. IPPOLITOV-IVANOV Procession of the Sardar (from Caucasian Sketches, Op. 10) (3:58) Recorded 17 January 1940 ∙ Matrix: WXCO 26426 ∙ First issued on Columbia 11738-D 3. SAINT-SAËNS Danse Macabre, Op. 40 (6:55) Recorded 24 January 1940 ∙ Matrice: WXCO 26411/2 ∙ First issued on Columbia 11251-D 4. WEBER Euryanthe - Overture (7:36) Recorded 24 January 1940 ∙ Matrices: WXCO 26424-1 & 26425-2 ∙ First issued on Columbia 11179-D SCHUBERT Symphony No. 9 in C major, “The Great” D.944 5. 1st Mvt. - Andante - Allegro ma non troppo - Più moto (12:58) 6. 2nd Mvt. - Andante con moto (12:29) 7. 3rd Mvt. - Scherzo. Allegro vivace (7:54) 8. 4th Mvt. - Finale. Allegro vivace (11:10) Recorded 24 January 1940 ∙ Matrices: WXCO 26449-1, 26450-2, 26451-2, 26452-2, 26453-2, 26454-2, 26455-1, 26456-2, 26457-1, 26458-1 & 26459-1 ∙ First issued on Columbia 11190/96-D in album M-403 Frederick Stock ∙ Chicago Symphony Orchestra John Weicher, solo violin (R. Strauss, Saint-Saëns) Robert M. Mayer, solo English horn (Sibelius) Producer and Audio Restoration Engineer: Mark Obert-Thorn All recordings made in Orchestra Hall, Chicago Cover photo of Frederick Stock by George Nelidoff kindly provided by the Rosenthal Archives of the Chicago Symphony Orchestra (Frank Villella, archivist). Total duration: 2hr 26:05 FREDERICK STOCK and The Chicago Symphony, Volume 5 (1940-1941) - PASC749 FREDERICK STOCK and The Chicago Symphony, Volume 5 disc one (75:42) BRAHMS Symphony No. 3 in F major, Op. 90 1. 1st Mvt. - Allegro con brio (8:46) 2. 2nd Mvt. - Andante (7:53) 3. 3rd Mvt. - Poco allegretto (6:08) 4. 4th Mvt. - Allegro - Un poco sostenuto (8:39) Recorded 23 November 1940 Matrices: XCO 29139-2, 29140-1, 29141-1, 29142-2, 29143-1, 29144-1, 29145-1 & 29146-1 First issued on Columbia 11505/8-D in album M-443 5. WALTON Scapino, a Comedy Overture (9:24) Recorded 25 April 1941 ∙ Matrices: XCO 30554-1 & 30555-3 First issued on Columbia 11945-D SCHUMANN Symphony No. 4 in D minor, Op. 120 6. 1st Mvt. - Ziemlich langsam - Lebhaft (8:09) 7. 2nd Mvt. - Romanze: Ziemlich langsam (4:23) 8. 3rd Mvt. - Scherzo: Lebhaft (4:11) 9. 4th Mvt. - Langsam - Lebhaft (7:07) Recorded 25 April 1941 Matrices: XCO 30751-2, 30752-1, 30753-2, 30754-1, 30755-1 & 30756-1 First issued on Columbia 11581/3-D in album M-475 10. ENESCU Romanian Rhapsody No. 1, Op. 11 (11:02) Recorded 25 April 1941 ∙ Matrices: XCO 30816-2. 30817-1 & & 30818-1 First issued on Columbia 11605/6-D in album X-203 disc two (77:22) GLIÈRE Symphony No. 3 in B minor, “Ilya Murometz” 1. 3rd Mvt. - The Palace of Prince Vladimir (7:22) Recorded 25 April 1941 ∙ Matrices: XCO 30966-1 & 30967-2 ∙ First issued on Columbia 11697-D 2. GLAZUNOV Carnaval Overture, Op. 45 (8:43) Recorded 25 April 1941 ∙ Matrices: XCO 30968-1 & 30969-2 ∙ First issued on Columbia 11771-D 3. REZNIČEK Donna Diana - Overture (3:52) Recorded 26 April 1941 ∙ Matrix: XCO 30819-1 ∙ First issued on Columbia 11606-D in album X-203 4. TOCH Pinocchio: A Merry Overture for Orchestra (6:32) Recorded 26 April 1941 ∙ Matrices: XCO 30970-2 & 30971-1 ∙ First issued on Columbia 11665-D 5. BRAHMS Tragic Overture, Op. 81 (11:11) Recorded 26 April 1941 ∙ Matrices: XCO 30972-3, 30973-1 & & 30974-1 ∙ First issued on Columbia 11681/2-D in album X-214 6. GLAZUNOV Concert Waltz No. 1, Op. 47 (6:52) Recorded 26 April 1941 ∙ Matrices: XCO 30975-1 & 30976-1 ∙ First issued on Columbia 11934-D in album X-232 7. GLAZUNOV Concert Waltz No. 2, Op. 51 (7:12) Recorded 26 April 1941 ∙ Matrices: XCO 30977-1 & 30978-1 ∙ First issued on Columbia 11933-D in album X-232 8. LIADOV Baba Yaga, Op. 56 (2:49) Recorded 26 April 1941 ∙ Matrix: XCO 30979-1 ∙ Unissued on 78 rpm 9. BRAHMS Minuet from Serenade No. 1 in D major, Op. 11 (4:20) Recorded 26 April 1941 ∙ Matrix: XCO 30980-2 ∙ First issued on Columbia 11682-D in album X-214 10. PAGANINI (arr. Stock) Moto Perpetuo, Op. 11 (3:48) Recorded 26 April 1941 ∙ Matrix: XCO 30981-2 ∙ First issued on Columbia 11738-D 11. PONCHIELLI Dance of the Hours from La Gioconda (8:12) Recorded 26 April 1941 ∙ Matrices: XCO 30546-1 & 30547-2 ∙ First issued on Columbia 11621-D 12. BENJAMIN Overture to an Italian Comedy (6:29) Recorded 22 December 1941 ∙ Matrices: CS 070159-1 & 070160-1 ∙ First issued on Victor 11-8157 Frederick Stock ∙ Chicago Symphony Orchestra Producer and Audio Restoration Engineer: Mark Obert-Thorn All recordings made in Orchestra Hall, Chicago, except for the Brahms Third, which was recorded in Liederkranz Hall, New York City Cover photo of Frederick Stock by George Nelidoff kindly provided by the Rosenthal Archives of the Chicago Symphony Orchestra (Frank Villella, archivist). Total duration: 2hr 33:02 FREDERICK STOCK and The Chicago Symphony, Volume 6 (1941) - PASC771 FREDERICK STOCK and The Chicago Symphony, Volume 6 BACH (orch. Stock) Prelude and Fugue in E-flat, BWV 552, “St. Anne” 1. Prelude (9:38) 2. Fugue (5:51) Recorded 22 December 1941 · Matrices: CS 070163/6 · First issued on Victor 11-8541/2 in album M-958 3. WAGNER Siegfried - Forest Murmurs (8:31) Recorded 22-23 December 1941 · Matrices: CS 070161/2 · Unpublished on 78 rpm 4. DVOŘÁK In Nature’s Realm, Overture, Op. 91 (11:58) Recorded 22-23 December 1941 · Matrices: CS 070167/9 · First issued on Victor 11-8639/40 in album M-975 5. R. STRAUSS On the Shores of Sorrento from Aus Italien, Op. 16 (9:56) Recorded 23 December 1941 · Matrices: CS 070171/2 · First issued on Victor 18535 CHAUSSON Symphony in B-flat, Op. 20 6. 1st Mvt. - Lent - Allegro vivo (11:19) 7. 2nd Mvt. - Très lent (7:21) 8. 3rd Mvt. - Animé (11:05) Recorded 23 December 1941 · Matrices: CS 070171/2 · First issued on Victor 11-8491/4 in album M-950 Chicago Symphony Orchestra conducted by Frederick Stock Producer and Audio Restoration Engineer: Mark Obert-Thorn All recordings made in Orchestra Hall, Chicago Cover photo of Frederick Stock by George Nelidoff kindly provided by the Rosenthal Archives of the Chicago Symphony Orchestra (Frank Villella, archivist). 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