{"product_id":"ormandy-and-the-philadelphia-orchestra-the-early-years-complete-pabx046","title":"ORMANDY and The Philadelphia Orchestra - The Early Years Complete - PABX046","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003eMusic by\u003c\/span\u003e\u003cb\u003e \u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eBach, Barber, Beethoven, Brahms, Liszt, Mozart, Ravel, Rimsky-Korsakov, Schubert, Schumann, Sibelius, J. Strauss, R. Strauss, Tchaikovsky, Telemann, Wagner\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e and more\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Philadelphia Orchestra\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by Eugene Ormandy\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio \u0026amp; live recordings, 1936-1945\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC726.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdiv class=\"pristine-boxset-track-listing--heading\"\u003eClick below to expand note:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eORMANDY and The Philadelphia Orchestra - The Early Years ∙ Volume 1 (1936-42) - PASC578\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\nThe present release is the first in a series devoted to Eugene Ormandy’s\nearly recordings with the Philadelphia Orchestra for the Victor and World’s\nGreatest Music labels from 1936 through 1942, with one additional Victor\nrecording from 1945. While the recordings he made during this period with\nsuch legendary soloists as Rachmaninov, Kreisler, Heifetz, Feuermann,\nRubinstein, Flagstad, Melchior and others have deservedly remained in the\ncatalog for decades, this series will focus on his purely orchestral\nrecordings, which have been rather overlooked in reissues. Several of the\nworks, like the Schumann, Menotti, Barber and Roy Harris items in this\nrelease, were never re-recorded by the conductor in his long career, and\nsome have not been available since the 78 rpm era.\n\u003c\/p\u003e\n\u003cp\u003e\nAs a musician born and trained in Budapest, one would expect Ormandy’s\nLiszt to be idiomatic and exciting, and so it is. All the more strange,\nthen, that he recorded \u003cem\u003eLes préludes\u003c\/em\u003e only once more, for Columbia\nin 1946, and not at all in the LP era. Stranger still is his track record\nwith Schumann. The Second Symphony heard here was begun at his first\nPhiladelphia session in December, 1936 and completed the following month.\nPrior to that, Ormandy had recorded the composer’s Fourth Symphony in\nMinneapolis; but after the Second, he was to make no more Schumann symphony\nrecordings for the rest of his career, a particular loss given the strong\nand committed reading we have here.\n\u003c\/p\u003e\n\u003cp\u003e\nRavel might seem to be an odd discmate to Liszt and Schumann; but Ormandy’s\nPhiladelphia recordings during this period included very little French\nmusic – just this, and a couple aria accompaniments for soprano Dorothy\nMaynor. He would go on to re-record the \u003cem\u003eDaphnis\u003c\/em\u003e suite four more\ntimes during the LP era (two mono and one stereo version for Columbia, as\nwell as a stereo RCA taping); but the present recording has not been\navailable since the 78 era – surprisingly, given its supercharged\nexcitement that surpasses even Munch’s tempo in the finale.\n\u003c\/p\u003e\n\u003cp\u003e\nDuring the late 1930s and early ‘40s, Ormandy became the go-to conductor\nfor Victor’s recordings of Richard Strauss tone poems. Starting with the\nfirst electrical recording of the \u003cem\u003eSymphonia Domestica\u003c\/em\u003e in 1938,\nOrmandy and the Philadelphia recorded the present \u003cem\u003eEin Heldenleben \u003c\/em\u003e\nthe following year, and would go on to record \u003cem\u003eDon Quixote\u003c\/em\u003e with\nEmanuel Feuermann in 1940 (Pristine PASC 168). Ormandy recorded three more\nversions of \u003cem\u003eHeldenleben \u003c\/em\u003eduring the LP era (Columbia mono, 1954;\nColumbia stereo, 1960; RCA stereo, 1978), but the present one is the\nswiftest of them all.\n\u003c\/p\u003e\n\u003cp\u003e\nThroughout his conducting career, Ormandy was a committed champion of\nAmerican music. The works by Menotti and Barber were not only disc\npremières; they were the first recording of any piece by the former, and\nthe earliest recorded orchestral work of the latter. The Roy Harris suite\nis comprised of the two orchestral interludes from the composer’s \u003cem\u003eFolksong Symphony\u003c\/em\u003e framing a newly-added middle section. It\nremained unissued during the 78 era.\n\u003c\/p\u003e\n\u003cp\u003e\nThe two Sousa marches, never reissued until now, were recorded as a display\nof patriotism at the orchestra’s first session after America entered the\nSecond World War. It was to be the last under their Victor contract.\nShortly afterward, the first Petrillo Ban on recording went into effect;\nand when it was over in 1944, the Philadelphia Orchestra began what was to\nbe a twenty-four year association with Columbia (except for one make-up\nsession in 1945 – but that’s a story for another volume . . . )\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eORMANDY and The Philadelphia Orchestra - The Early Years ∙ Volume 2 (1937-41) - PASC605\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n\nThe present release is the second in a series devoted to Eugene\nOrmandy’s early recordings with the Philadelphia Orchestra for the\nVictor and World’s Greatest Music labels from 1936 through 1942, with\none additional Victor recording from 1945. While the recordings he made\nduring this period with such legendary soloists as Rachmaninov,\nKreisler, Heifetz, Feuermann, Rubinstein, Flagstad, Melchior and others\nhave deservedly remained in the catalog for decades, this series will\nfocus on his purely orchestral recordings, which have been rather\noverlooked in reissues. No remade versions of the Telemann and Mozart works in this release ever appeared during the conductor's long career, and only the Beethoven ever received an “official” extended play reissue from\nRCA, on a Camden LP.\n\n\u003c\/p\u003e\n\u003cp\u003e\nOrmandy’s forays into the Baroque repertoire during this period centered\naround Bach transcriptions arranged by Lucien Cailliet (collected on\nPristine PASC 444 and 532), although he and the orchestra did record the\nsecond and third Brandenburg Concertos anonymously for World’s Greatest\nMusic, forthcoming in this series. The Telemann work, which is reminiscent\nof Bach’s more well-known Suite in B minor for Flute and Strings, is a\nshowpiece for the Philadelphia’s principal flute, William Kincaid, who\njoined the orchestra in 1921 and stayed just long enough to welcome\nStokowski back in 1960. In an early nod to Historically Informed\nPerformance, an ensemble of 29 players including a harpsichord continuo was\nused for this recording, although some changes to the text were made in the\nedition employed (shortening the ending of the Ouverture, playing only the second Minuet and moving the Réjouissance to the end, probably to make it structured more like Bach's suite, which concludes with a fast Badinerie). Twice during the 1950s,\nColumbia re-recorded the work for an LP issue that never materialized,\nleaving this the sole Ormandy version.\n\u003c\/p\u003e\n\u003cp\u003e\nThe Mozart Divertimento which follows on our program is probably the rarest\nof all of Ormandy’s Philadelphia 78s due to the way it was originally\npackaged, as two 10-inch discs and a 12-inch disc, the last of which is\nalmost invariably found broken in the album. It was a work to which Ormandy\nnever returned in the studio. The Beethoven symphony is seldom found for a\ndifferent reason: Ormandy had the bad timing to record it nine months\nbefore Toscanini made his own much-admired set with the BBC Symphony, which\nappeared on the same HMV\/Victor labels. Like the Mengelberg\/New York\nPhilharmonic account which it was intended to replace in the catalog, it\nran to eight sides in order to include the first movement repeat, making it\nsomewhat less competitive to record buyers who could purchase Weingartner’s\nrepeat-free version (made the same month as Toscanini’s) on six sides.\n\u003c\/p\u003e\n\u003cp\u003e\nSibelius was one of Ormandy’s specialties throughout his career. He had\nalready recorded the First Symphony in Minneapolis on ten sides, but\nre-made the set only six years later in Philadelphia on eight longer sides\nin a somewhat faster (but not by much!) reading. The recordings of the\nthree tone poems were done for an album celebrating the composer’s 75th\nbirthday. Although he was to re-record \u003cem\u003eFinlandia\u003c\/em\u003e and \u003cem\u003eThe Swan of Tuonela\u003c\/em\u003e several more times over his career, Ormandy\nonly returned to \u003cem\u003eLemminkäinen’s Return\u003c\/em\u003e on disc for his two\ncomplete recordings of the \u003cem\u003eLemminkäinen\u003c\/em\u003e \u003cem\u003eSuite\u003c\/em\u003e (the\nearlier of which is on PASC 205). As commentator Edward Johnson points out,\nOrmandy adds tam-tam strokes in the nine bars before Letter P of the \u003cem\u003eReturn\u003c\/em\u003e, an addition to the score also employed by Beecham in his\nearlier recording. The Enescu was another work Ormandy had previously\nrecorded in Minneapolis, the earlier version on four 10-inch sides. Here,\nthe conductor was able to fit it on two rather long 12-inch sides in a\nperformance, like that of \u003cem\u003eLemminkäinen’s Return\u003c\/em\u003e, of incredible\nspeed and immense excitement. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eORMANDY and The Philadelphia Orchestra - The Early Years ∙ Volume 3 (1937-41) - PASC634\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n\nThe present release is the third in a series devoted to Eugene\nOrmandy’s early recordings with the Philadelphia Orchestra for the\nVictor and World’s Greatest Music labels from 1936 through 1942, with\none additional Victor recording from 1945. While the recordings he made\nduring this period with such legendary soloists as Rachmaninov,\nKreisler, Heifetz, Feuermann, Rubinstein, Flagstad, Melchior and others\nhave deservedly remained in the catalog for decades, this series\nfocuses on his purely orchestral recordings, which have been rather\noverlooked in reissues. Except for the \u003cem\u003eSymphonia\u003c\/em\u003e \u003cem\u003eDomestica\u003c\/em\u003e, which was previously reissued on LP (Camden) and CD\n(Biddulph), none of the recordings presented here have been available\nsince the 78 rpm era.\n\n\u003c\/p\u003e\n\u003cp\u003e\nLeopold Stokowski left a formidable legacy of Wagner recordings during the\nyears of his directorship of the Philadelphia Orchestra, enough to fill\nmore than four CDs; so it is rather surprising that Ormandy’s 10-inch disc\nof \u003cem\u003eMeistersinger\u003c\/em\u003e excerpts presented here is his only example of\norchestral Wagner on record during this period, although he also provided\nseveral vocal accompaniments for Flagstad and Melchior.\n\u003c\/p\u003e\n\u003cp\u003e\nOrmandy had first recorded the Brahms Second Symphony with the\nPhiladelphians anonymously for the World’s Greatest Music series nine\nmonths before the version presented here (to be released in Volume 5 of\nthis series). The earlier version was on ten sides, while this one was on\ntwelve, like the 1929 Stokowski version (reissued on Pristine PASC 562) it\nwas intended to replace. Apparently, this was not due to a more expansive\ninterpretation; indeed, according to Richard Kaplan’s Philadelphia\nOrchestra discography, the 12-sided version is 11 seconds faster than the\nten-sided one. Victor’s decision made the set rather uncompetitive in a\nfield which otherwise had ten- or even eight-sided Brahms Seconds.\n(Interestingly, the earlier version was reissued on RCA’s Camden LP series,\nthe only World’s Greatest Music release to be so chosen.)\n\u003c\/p\u003e\n\u003cp\u003e\nOrmandy had already recorded a best-selling album of Johann Strauss\novertures and waltzes with the Minneapolis Symphony before setting down the\nthree waltzes heard here. While he remade the \u003cem\u003eEmperor \u003c\/em\u003eWaltz ten\nyears later for a Columbia LP, the other two had to wait until the stereo\nera for another Ormandy\/Philadelphia version. Richard Strauss’ \u003cem\u003eRosenkavalier\u003c\/em\u003e Waltzes had also already been set down by Ormandy in\nMinneapolis on three ten-inch sides. Here, he was able to take advantage of\nlonger recording times to re-record it on a single 12-inch disc.\n\u003c\/p\u003e\n\u003cp\u003e\nHindemith’s \u003cem\u003eMathis der Maler\u003c\/em\u003e Symphony was a mere six years old\nwhen Ormandy made the recording included here. It was only the second\nversion on disc, following the composer’s own 1934 recording; and the two\nwould go on to become the only sets available during the 78 rpm era. As so\noften when they were playing what was then “new music”, Ormandy and his\nPhiladelphians bring an almost missionary zeal to the performance, which\nblazes with intensity, particularly in the brass.\n\u003c\/p\u003e\n\u003cp\u003e\nFor his first Richard Strauss tone poem on disc, Ormandy chose the then\nlesser-known \u003cem\u003eSymphonia Domestica\u003c\/em\u003e for what became its first\nelectrical recording. (There had been a late acoustic set with Eduard\nMörike; and the only other 78-era recording would be Carl Schuricht’s\nversion from three years later, on PASC 320.) For the next couple years,\nOrmandy would be Victor’s “go-to” conductor for Strauss tone poems, setting\ndown \u003cem\u003eEin Heldenleben\u003c\/em\u003e in 1939 (in Volume 1 of our series, PASC 578)\nand \u003cem\u003eDon Quixote\u003c\/em\u003e with Feuermann the following year (PASC 168).\nWhile he continued to record and re-record most of the major Strauss\norchestral works until the end of his career, he never returned to the \u003cem\u003eDomestica\u003c\/em\u003e, leaving this his sole statement on the work.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eORMANDY and The Philadelphia Orchestra - The Early Years ∙ Volume 4 (1936-45) - PASC693\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\nThe present release is the fourth in a series devoted to Eugene Ormandy’s\nearly recordings with the Philadelphia Orchestra for the Victor and World’s\nGreatest Music labels from 1936 through 1942, with one additional Victor\nrecording (the \u003cem\u003eNutcracker\u003c\/em\u003e Suite presented here) from 1945. While\nthe recordings he made during this period with such legendary soloists as\nRachmaninov, Kreisler, Heifetz, Feuermann, Rubinstein, Flagstad, Melchior\nand others have deservedly remained in the catalog for decades, this series\nfocuses on his purely orchestral recordings, which have been rather\noverlooked in reissues. Among the items included in the present program,\nonly the Tchaikovsky “Pathétique” has seen previous reissue on both LP and\nCD. The \u003cem\u003eNutcracker\u003c\/em\u003e Suite was last offered on a 10-inch LP in the\nearly 1950s; the Tchaikovsky Fifth has been unavailable since the 78-rpm\nera; and the two Rimsky-Korsakov items are seeing their first release here.\n\u003c\/p\u003e\n\u003cp\u003e\nThe \u003cem\u003eNutcracker\u003c\/em\u003e Suite might rightly be called the Philadelphia\nOrchestra’s “contractual obligation album.” Ormandy had first recorded\nthe work with them in December, 1941; but like many Victors of that period\n(including the Philadelphia sides conducted by Toscanini), the matrices\nsuffered from processing problems that rendered them too noisy to release.\nBy the end of the first Petrillo recording ban (1942-44), the orchestra had\nswitched to Columbia, making their first records for that label in\nNovember, 1944. However, under their contract, they were allowed to\nre-make existing Victor sides that were awaiting release. And so, in\nJanuary of 1945, this single album was made for RCA. The Overture is taken\nat a notably broader tempo than Ormandy would use in his 1952\/3 Columbia LP\nremake, although for that later recording, he would still have the violins\nplay an octave higher in repeated phrases in the “Waltz of the Flowers.”\n\u003c\/p\u003e\n\u003cp\u003e\nAlthough he inherited Stokowski’s orchestra, Ormandy’s conducting idol was\nToscanini, whose influence can be heard in the two Tchaikovsky symphony\nrecordings. While the Fifth Symphony was not in the Italian Maestro’s\nrepertoire, Ormandy’s 1941 recording reflects a Toscanini-like approach,\nwith swift tempi and ever-forward movement (e.g., the end of the first\nmovement). Ormandy restores the big cut in the fourth movement taken by\nMengelberg (Pristine PASC 511) and Stock (PASC 684), as well as smaller\nones imposed by Stokowski, like the lead-in to the final peroration in the\nfourth movement. A similar aesthetic is evident in the “Pathétique”, which\ndates from Ormandy’s first recording session with the Philadelphians in\nDecember, 1936 (with the first and last sides remade a month later).\nOrmandy would go on to re-record these two symphonies four more times over\nhis long career, in increasingly more expansive readings.\n\u003c\/p\u003e\n\u003cp\u003e\nThe arrangement Ormandy made of a short, atmospheric scene from\nRimsky-Korskakov’s opera, \u003cem\u003eChristmas Eve\u003c\/em\u003e, begins with music\nreminiscent of the Eastern Orthodox hymn Tchaikovsky used to open his\n\u003cem\u003e\n1812\n\u003c\/em\u003e\nOverture. No coupling for this side was recorded at the time, so it has\nremained unissued until now.\n\u003c\/p\u003e\n\u003cp\u003e\nOrmandy’s Philadelphia recordings of Russian repertoire during this period\nare sparse; the only other work taken down in the studio was Lucien\nCailliet’s transcription of Mussorgsky’s \u003cem\u003ePictures at an Exhibition\u003c\/em\u003e\n(already reissued on PASC 444). To conclude our program, we turn to a\npreviously unpublished live performance. On the same Easter Sunday that\nMarian Anderson’s historic recital on the steps of the Lincoln Memorial\ncaptured the attention of American radio listeners, Ormandy and his\nPhiladelphians offered a broadcast concert on NBC’s “Magic Key of RCA”\nprogram, concluding with a blazing performance of Rimsky-Korsakov’s\n\u003cem\u003e\nRussian Easter Overture\n\u003c\/em\u003e\n, which had to be abridged to fit the one-hour time constraint of the\nprogram.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eORMANDY and The Philadelphia Orchestra - The Early Years ∙ Volume 5 (1938-40) - PASC726\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\nThe present release is the fifth and last in a series devoted to Eugene\nOrmandy’s early recordings with the Philadelphia Orchestra for the Victor\nand World’s Greatest Music labels from 1936 through 1942, with one\nadditional Victor recording from 1945. While the recordings he made during\nthis period with such legendary soloists as Rachmaninov, Kreisler, Heifetz,\nFeuermann, Rubinstein, Flagstad, Melchior and others have deservedly\nremained in the catalog for decades, this series has focused on his purely\norchestral recordings, which have been rather overlooked in reissues.\nAmong the items included in the present program, only the Brahms has seen a\nprevious LP reissue, while none of the recordings have been released on CD.\n\u003c\/p\u003e\n\u003cp\u003e\nThe “World’s Greatest Music” label was begun by the Publishers Service\nCompany (a distribution arm of the New York \u003cem\u003ePost\u003c\/em\u003e) to market\nrecordings of standard Classical repertoire at prices which substantially\nundercut the majors. Neither the conductors nor the orchestras were named\non the labels; but subsequent research has identified albums recorded by\nFritz Reiner and the New York Philharmonic and Artur Rodziński with the NBC\nSymphony, among others. The recordings were made by RCA Victor and were\npressed by them as well, with nothing on the discs or packaging to betray\ntheir origins. The recordings were phenomenally successful, with\n\u003cem\u003e\nTime\n\u003c\/em\u003e\nmagazine reporting in 1940 that over one million records in the symphonic\nseries had been sold.\n\u003c\/p\u003e\n\u003cp\u003e\nIn order to keep production costs down, reduced forces were used for the\nsessions (here, 49 players for the Bach and Mozart works, and 74 for the\nremainder). The chamber-sized forces work to the advantage of the earlier\nmusic, with the Bach in particular losing the bloated, Romanticized\napproach of Stokowski’s 1928 recording of the Second Brandenburg with the\nsame ensemble. While no one will confuse Ormandy’s Bach with an “H.I.P.”\nreading, the approach here was part of an interim step (exemplified by the\nBusch Chamber Players’ 1935 set of the Brandenburgs) to move past the slow\ntempi and massive sound that characterized many orchestral Bach\nperformances up through the early 1930s. Alone among the standard\nrepertoire “greatest hits” on this release, the Bach items were never later\nre-recorded by Ormandy during his long career.\n\u003c\/p\u003e\n\u003cp\u003e\nAlthough he inherited Stokowski’s orchestra with its lush sound, Ormandy’s\nconducting idol was Toscanini; and that connection informs his approach to\nthe Classical and Romantic era works here. The Mozart (even with its\nslight portamento on the opening phrase, heard also in some Toscanini\nperformances), Beethoven and Schubert might almost be mistaken for the work\nof The Maestro, save for a reluctance to fully press the vehemence of the\nlouder passages, opting instead for a more rounded, “beautiful” sound. In\nsome of the recordings (the first movement of the Beethoven and the\nBrandenburg Second in particular), the lack of rehearsal for the sessions\ncan occasionally be heard in slight off-beat ensemble irregularities,\nalbeit ones from which the orchestra quickly recovers.\n\u003c\/p\u003e\n\u003cp\u003e\nThe Brahms is a particularly successful interpretation in this series – a\nglowing, full-hearted reading which finds Ormandy avoiding the temptation\nto accelerate toward the ending. It was re-recorded for release on Victor\nnine months later, in a version lavishly spread over twelve sides (as\nopposed to the ten for WGM), a reading which was actually a few seconds\nfaster than the one presented here. (The later one has been reissued in\nVolume Three of this series, PASC 634). As one might expect, there are no\ngreat differences between the two; yet, oddly, the WGM version was chosen\nby RCA for reissue in its Camden LP series (CAL-236), where it was credited\nto the “Claridge Symphony Orchestra”, the only such attribution given.\n\u003c\/p\u003e\n\u003cp\u003e\nPrefacing the WGM releases here is a Victor recording inadvertently left\nout of previous volumes in our series. The arranger, Charles O’Connell, was\nVictor’s Red Seal director, and made recordings as a conductor and organist\nfor the label. As producer for the Philadelphia Orchestra’s sessions, he\nwas intimately familiar with Stokowski’s Bach orchestrations, and was able\nto replicate his “formula” of introducing various orchestral choirs in\nsuccession very closely in the excerpt from the\n\u003cem\u003e\nSt. Matthew Passion\n\u003c\/em\u003e\npresented here. O’Connell also persuaded other conductors to record his\ntranscriptions, including Monteux and Stokowski himself.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab1_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_contentfb55cd020f0643f08418183279e63a5f\u003cdiv class=\"pristine-boxset-track-listing--heading\"\u003eClick below to expand track listing:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eORMANDY and The Philadelphia Orchestra - The Early Years ∙ Volume 1 (1936-42) - PASC578\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 24px;\"\u003eEugene Ormandy and The Philadelphia Orchestra\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 20px;\"\u003eThe Early Years ∙ Volume 1\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eStudio Recordings ∙ 1936 - 1942\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003e\n\u003cstrong\u003e\n\u003cbr\u003e\n\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\n\u003cstrong\u003eCD 1 (66:33)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n1. \u003cstrong\u003eLISZT: Les préludes, S.97\u003c\/strong\u003e (15:51)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 17 October 1937 ∙ Matrices: CS 013065\/8 (all Take 1) ∙ First\nissued on Victor 14924\/5 in album M-453\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSCHUMANN: Symphony No. 2 in C, Op. 61\u003c\/strong\u003e\u003cbr\u003e2. 1st Mvt.: Sostenuto assai – Allegro, ma non troppo (10:38)\u003cbr\u003e3. 2nd Mvt.: Scherzo: Allegro vivace (7:01)\u003cbr\u003e4. 3rd Mvt.: Adagio espressivo (9:38)\u003cbr\u003e5. 4th Mvt.: Allegro molto vivace (7:56)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 13 December 1936 \u0026amp; 9 January 1937 ∙ Matrices: CS 03141-1,\n03142-1, 03143-1, 03144-1, 03145-1, 03146-1, 03147-1, 03148-1, 03189-1\n\u0026amp; 03190-2 ∙ First issued on Victor 14885\/9 in album M-448\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRAVEL: Daphnis et Chloé – Suite No. 2\u003c\/strong\u003e\u003cbr\u003e6. Lever du jour (Daybreak) (4:48)\u003cbr\u003e7. Pantomime (7:26)\u003cbr\u003e8. Danse générale (3:15)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 8 January 1939 ∙ Matrices: CS 030900-1, 030901-1, 030902-2 \u0026amp;\n030903-1 ∙ First issued on Victor 16147\/8 in album M-667\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCD 2 (69:27)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e R. STRAUSS: Ein Heldenleben, Op. 40\u003c\/strong\u003e\u003cbr\u003e1. Der Held (The Hero) (4:06)\u003cbr\u003e2. Des Helden Widersacher (The Hero’s Adversaries) (3:12)\u003cbr\u003e3. Des Helden Gefährtin (The Hero’s Companion) (12:30)\u003cbr\u003e4. Des Helden Walstatt (The Hero’s Battlefield) (8:08)\u003cbr\u003e5. Des Helden Friedenswerke (The Hero’s Works of Peace) (4:23)\u003cbr\u003e6. Des Helden Weltflucht und Vollendung (The Hero’s Retreat from the World\nand Fulfillment) (10:24)\u003cstrong\u003e\u003cbr\u003eAlexander Hilsberg ∙ \u003cem\u003esolo violin\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 30 April 1939 ∙ Matrices: CS 035813-1, 035814-1, 035815-2,\n035816-1, 035817-1, 035818-1, 035819-1, 035820-1, 035821-1 \u0026amp; 035822-1 ∙\nFirst issued on Victor 15661\/5 in album M-610\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e7. \u003cstrong\u003eMENOTTI: Amelia Goes to the Ball – Overture \u003c\/strong\u003e(4:15)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 8 January 1939 ∙ Matrix: CS 030904-2 ∙ First issued on Victor\n15377\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e8. \u003cstrong\u003eBARBER: First Essay for Orchestra, Op. 12\u003c\/strong\u003e (7:27)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 20 October 1940 ∙ Matrices: CS 056573-1 \u0026amp; 056574-2 ∙ First\nissued on Victor 18062\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eROY HARRIS: Three Pieces for Orchestra\u003c\/strong\u003e\u003cbr\u003e9. Dance Tunes for Strings and Percussion (2:45)\u003cbr\u003e10. Evening Piece (3:47)\u003cbr\u003e11. Dance Tunes for Full Orchestra (2:42)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 25 October 1941 ∙ Matrices: CS 071290\/1 (both Take 1) ∙ Unissued\non 78 rpm\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e12. \u003cstrong\u003eSOUSA: Washington Post March \u003c\/strong\u003e(2:24)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 6 March 1942 ∙Matrix: CS 073214-2 ∙ First issued on Victor 11-8451\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e13. \u003cstrong\u003eSOUSA: The Stars and Stripes Forever \u003c\/strong\u003e(3:24)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 6 March 1942 ∙Matrix: CS 073213-1 ∙ First issued on Victor 11-8451\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 20px;\"\u003eEugene Ormandy ∙ The Philadelphia Orchestra\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eSpecial thanks to Nathan Brown, Richard Kaplan and Charles Niss for\nproviding source material\u003cbr\u003eAll recordings made in the Academy of Music, Philadelphia\n\u003cbr\u003eCover artwork based on a photograph of Eugene Ormandy from the Tully Potter Collection\u003c\/p\u003e\n\u003cp\u003eTotal duration: \u003cb\u003e2hr 16:00 \u003c\/b\u003e\u003cbr\u003eCD1: 66:34 CD2: 69:26\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eORMANDY and The Philadelphia Orchestra - The Early Years ∙ Volume 2 (1937-41) - PASC605\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 24px;\"\u003eEugene Ormandy and The Philadelphia Orchestra: The Early Years ∙ Volume 2\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\n\u003cstrong\u003eCD 1 (63:16)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\nTELEMANN\n\nSuite in A minor for Flute and Strings, TWV 55:a2\u003c\/strong\u003e\u003cbr\u003e1. I Ouverture (4:50)\u003cbr\u003e2. II Les plaisirs (2:02)\u003cbr\u003e3. III Air à L’Italienne (4:04)\u003cbr\u003e4. IV Menuet [II] (2:13)\u003cbr\u003e5. VI Passepied I \u0026amp; II (1:07)\u003cbr\u003e6. VII Polonaise (2:19)\u003cbr\u003e7. V Réjouissance (1:33)\u003cstrong\u003e\u003cbr\u003eWilliam Kincaid ∙ \u003cem\u003eflute\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 15 March 1941 ∙ Matrices: CS 062546-1, 062547-2A, 062548-1A \u0026amp;\n062549-1 ∙ First issued on Victor 11-8120\/2 in album M-890\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\n\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMOZART\n\nDivertimento No. 10 in F major for Strings and 2 Horns, K.247\u003c\/strong\u003e\u003cbr\u003e8. 1st Mvt. - Allegro (5:52)\u003cbr\u003e9. 2nd Mvt. - Andante grazioso (5:26)\u003cbr\u003e10. 3rd Mvt. - Menuetto \u0026amp; Trio (3:12)\u003cbr\u003e11. 4th Mvt. - Andante - Allegro assai (4:33)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 17 April 1938 ∙ Matrices: BS 022328\/31 \u0026amp; CS 022332\/3 (all Take\n1) ∙ First issued on Victor 2014\/5 \u0026amp; 15639 in album M-603\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBEETHOVEN Symphony No. 1 in C major, Op. 21\u003c\/strong\u003e\u003cbr\u003e12. 1st Mvt. - Adagio molto - Allegro con brio (9:35)\u003cbr\u003e13. 2nd Mvt. - Andante cantabile con moto (7:12)\u003cbr\u003e14. 3rd Mvt. - Menuetto: Allegro molto e vivace (3:29)\u003cbr\u003e15. 4th Mvt. - Adagio - Allegro molto e vivace (5:49)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 9 January 1937 ∙ Matrices: CS 03194\/9 \u0026amp; 04000\/1 (all Take 1) ∙\nFirst issued on Victor 14691\/4 in album M-409\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003eCD 2 (68:48)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n1. \u003cstrong\u003eSIBELIUS Finlandia, Op. 26 \u003c\/strong\u003e(7:54)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 20 October 1940 ∙ Matrices: CS 047821-2 \u0026amp; 047822-2 ∙ First\nissued on Victor 17701 in album M-750\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n2.\n\u003cstrong\u003e\nSIBELIUS The Swan of Tuonela (No. 2 of Lemminkäinen Suite, Op. 22)\n\u003c\/strong\u003e\n(8:30)\u003cstrong\u003e\u003cbr\u003eJohn Minsker ∙ \u003cem\u003eEnglish horn\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 20 October 1940 ∙ Matrices: CS 047823-2 \u0026amp; 047824-2 ∙ First\nissued on Victor 17702 in album M-750\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n3.\n\u003cstrong\u003e\nSIBELIUS Lemminkäinen’s Return (No. 4 of Lemminkäinen\nSuite, Op. 22)\n\u003c\/strong\u003e\n(5:34)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 20 October 1940 ∙ Matrices: CS 047823-2 \u0026amp; 047824-2 ∙ First\nissued on Victor 17702 in album M-750\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\n\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSIBELIUS Symphony No. 1 in E minor, Op. 39\u003c\/strong\u003e\u003cbr\u003e4. 1st Mvt. - Andante, ma non troppo - Allegro energico (9:40)\u003cbr\u003e5. 2nd Mvt. - Andante (ma non troppo lento) (9:26)\u003cbr\u003e6. 3rd Mvt. - Scherzo: Allegro (4:46)\u003cbr\u003e7. 4th Mvt. - Finale (Quasi una fantasia) (12:37)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 25 October 1941 ∙ Matrices: CS 071200-2A, 071201-1, 071202-1,\n071203-1, 071204-1, 071205-1, 071206-1 \u0026amp; 071207-1 ∙ First issued on\nVictor 18499\/502 in album M-881\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n8.\n\n\u003cstrong\u003eENESCU Romanian Rhapsody No. 1, Op. 11\u003c\/strong\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n(10:22)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1 August 1941 ∙ Matrices: CS 066735-1 \u0026amp; 066736-2A ∙ First\nissued on Victor 18201 in album M-830\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eEugene Ormandy ∙ The Philadelphia Orchestra\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eProducer and Audio Restoration Engineer: \u003cb\u003eMark Obert-Thorn\u003c\/b\u003e\u003cbr\u003eSpecial thanks to Nathan Brown, Richard Kaplan and Charles Niss for\nproviding source material\u003cbr\u003eAll recordings made in the Academy of Music, Philadelphia\u003cbr\u003eCover artwork based on a photograph of Eugene Ormandy from the Tully Potter Collection\u003c\/p\u003e\n\u003cp\u003eTotal duration: \u003cb\u003e2hr 12:05\u003c\/b\u003e   \u003c\/p\u003e\n\u003cp\u003eCD1: 63:16   CD2: 68:48    \u003cbr\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eORMANDY and The Philadelphia Orchestra - The Early Years ∙ Volume 3 (1937-41) - PASC634\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 24px;\"\u003eEugene Ormandy and The Philadelphia Orchestra: The Early Years ∙ Volume 3\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\n\u003cstrong\u003eCD 1\u003c\/strong\u003e\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eDie Meistersinger von Nürnberg\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003e (Act 3)\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e1. Dance of the Apprentices (2:59)\u003cbr\u003e2. Entrance of the Mastersingers (3:12)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 9 January 1937 ∙ Matrices: BS 03192-2 \u0026amp; 03193-1 ∙ First issued\non Victor 1807\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eBRAHMS Symphony No. 2 in D major, Op. 73\u003c\/span\u003e\u003c\/strong\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e3. 1st Mvt. – Allegro non troppo (14:01)\u003cbr\u003e4. 2nd Mvt. – Adagio non troppo (10:38)\u003cbr\u003e5. 3rd Mvt. – Allegretto grazioso (5:29)\u003cbr\u003e6. 4th Mvt. – Allegro con spirito (9:15)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 21 December 1939 and *27 March 1940 ∙ Matrices: CS 045653-1,\n045654-1, 045655-1, 045656-2, 045657-1, 045658-1. 045659-1, *045660-3,\n045661-2, 045662-2, 045663-1 \u0026amp; 045664-1 ∙ First issued on Victor\n17302\/7 in album M-694\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e7.\n\n\u003cstrong\u003e\n\u003cspan style=\"font-size: 17px;\"\u003eJ. STRAUSS II Wiener Blut (Vienna Blood) - Waltz, Op. 354\u003c\/span\u003e\n\u003c\/strong\u003e\n\n(5:02)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 15 March 1941 ∙ Matrices: CS 062561-1 ∙ First issued on Victor\n18060\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n8.\n\u003cstrong\u003e\n\u003cspan style=\"font-size: 17px;\"\u003eJ. STRAUSS II Frühlingsstimmen (Voices of Spring) - Waltz Op. 410\u003c\/span\u003e\n\u003c\/strong\u003e\n(5:00)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 15 March 1941 ∙ Matrices: CS 062560-1 ∙ First issued on Victor\n18060\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e9. \u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eJ. STRAUSS II Kaiser-Walzer (Emperor Waltz), Op. 437\u003c\/span\u003e \u003c\/strong\u003e\n(10:04)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1 August 1941 ∙ Matrices: CS 062562-3 \u0026amp; 062563-4A ∙ First\nissued on Victor 18220\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003eCD 2 \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eHINDEMITH Symphony “Mathis der Maler”\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e1. 1st Mvt. – Engelkonzert (Ruhig bewegt) (7:35)\u003cbr\u003e2. 2nd Mvt. – Grablegung (Sehr langsam) (4:08)\u003cbr\u003e3. 3rd Mvt. – Versuchung des heiligen Antonius (Sehr langsam frei im\nZeitmaß – Sehr lebhaft) (11:46)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 20 October 1940 ∙ Matrices: CS 056578-1, 056579-1A, 056580-1,\n056581-1A, 056582-1A \u0026amp; 056583-1 ∙ First issued on Victor 18333\/5 in\nalbum M-854\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e4. \u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eR. STRAUSS Waltzes from Der Rosenkavalier\u003c\/span\u003e \u003c\/strong\u003e(10:14)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 25 October 1941 ∙ Matrices: CS 071208-1 \u0026amp; 071209-1A ∙ First\nissued on Victor 18390\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eR. STRAUSS Symphonia Domestica, Op. 53\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e5. Thema I (Bewegt) (0:56)\u003cbr\u003e6. Thema II (Sehr lebhaft) (2:05)\u003cbr\u003e7. Thema III (Ruhig) (1:45)\u003cbr\u003e8. Scherzo (Munter) (5:54)\u003cbr\u003e9. Mässig langsam (Wiegenlied) (5:33)\u003cbr\u003e10. Adagio (Langsam) (10:57)\u003cbr\u003e11. Finale (Sehr lebhaft) (12:29)\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003eRecorded 9 May 1938 ∙ Matrices: CS 022364-3, 022365-3, 022366-3, 022367-1,\n022368-1, 022369-3, 022370-3, 022371-3, 022372-2A \u0026amp; 022373-1 ∙ First\nissued on Victor 15225\/9 in album M-520\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEugene Ormandy ∙ The Philadelphia Orchestra\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\nProducer and Audio Restoration Engineer: Mark Obert-Thorn\n\n\u003c\/p\u003e\n\u003cp\u003e\n\nSpecial thanks to Nathan Brown, Richard Kaplan and Charles Niss for\nproviding source material\u003cbr\u003eAll recordings made in the Academy of Music, Philadelphia\u003cbr\u003eCover artwork based on a photograph of Eugene Ormandy from the Tully Potter Collection\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  2hr 19:12   \u003c\/b\u003e   \u003c\/p\u003e\n\u003cp\u003eCD1: 65:44     CD2: 73:28    \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eORMANDY and The Philadelphia Orchestra - The Early Years ∙ Volume 4 (1936-45) - PASC693\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eORMANDY \u003c\/b\u003eand The Philadelphia Orchestra - The Early Years ∙ Volume 4\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003eCD 1\n(66:10)\n\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY The Nutcracker - Suite, Op. 71a\u003c\/span\u003e\u003cbr\u003e\u003c\/strong\u003e1. Miniature Overture (3:30)\u003cbr\u003e2. March (2:14)\u003cbr\u003e3. Dance of the Sugar-Plum Fairy (1:44)\u003cbr\u003e4. Russian Dance (1:07)\u003cbr\u003e5. Arabian Dance (3:46)\u003cbr\u003e6. Chinese Dance (1:07)\u003cbr\u003e7. Dance of the Flutes (2:06)\u003cbr\u003e8. Waltz of the Flowers (6:31)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 10 January 1945 ∙ Matrices: D5-RC-643\/8 ∙ First issued on RCA\nVictor 11-8912\/4 in album M-1020\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY Symphony No. 5\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003e\nin E minor, Op. 64\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e9. 1st Mvt. -\n\nAndante - Allegro con anima\n\n(13:24)\u003cbr\u003e10. 2nd Mvt. -\n\nAndante cantabile, con alcuna licenza\n\n(13:09)\u003cbr\u003e11. 3rd Mvt. - Valse: Allegro moderato\n(5:59)\u003cbr\u003e12. 4th Mvt. -\n\nAndante maestoso - Allegro vivace\n\n(11:29)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 15 March 1941 ∙ Matrices: CS 062550-1, 062551-1A, 062552-1A,\n062553-2, 062554-1A, 062555-1A, 062556-1A, 062557-1A, 062558-1A \u0026amp;\n062559-1A ∙ First issued on Victor 18177\/81 in album M-828\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003eCD 2\n(55:24)\n\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY Symphony No. 6 in B minor, Op. 74, “Path\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eé\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003etique”\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e1. 1st Mvt. -\n\nAdagio - Allegro non troppo\n\n(16:20)\u003cbr\u003e2. 2nd Mvt. - Allegro con grazia (7:41)\u003cbr\u003e3. 3rd Mvt. - Allegro molto vivace\n(8:20)\u003cbr\u003e4. 4th Mvt. - Finale: Adagio lamentoso\n(8:34)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 13 December 1936 and *9 January 1937 ∙ Matrices: CS 03131-4A*,\n03132-1, 03133-1, 03134-1, 03135-2, 03136-1, 03137-1, 03138-1, 03139-1\n\u0026amp; 03140-2* ∙ First issued on Victor 14264\/8 in album M-337\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n5.\n\n\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eRIMSKY-KORSAKOV (arr. Ormandy) Church Scene from\n\u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003e\nChristmas Eve\u003c\/span\u003e\n\u003c\/em\u003e\n\u003c\/strong\u003e\n\u003cstrong\u003e\u003c\/strong\u003e(3:46)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 20 December 1941 ∙ Matrices: CS 071291-1 ∙ Previously unpublished\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e6.\n\n\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eRIMSKY-KORSAKOV Russian Easter Overture, Op. 36\u003c\/span\u003e\u003c\/strong\u003e\n\u003cem\u003e(abridged)\u003c\/em\u003e (10:41) \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eAnnouncer: Milton Cross\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFrom the NBC “Magic Key of RCA” broadcast of 9 April 1939\n\n· Previously unpublished\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eEugene Ormandy ∙ The Philadelphia Orchestra\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cbr\u003e\u003c\/span\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eSpecial thanks to Nathan Brown, Frederick P. Fellers, Richard Kaplan and\nCharles Niss for providing source material\u003cbr\u003eAll recordings made in the Academy of Music, Philadelphia\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eORMANDY and The Philadelphia Orchestra - The Early Years ∙ Volume 5 (1938-40) - PASC726\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n\u003cstrong\u003e\n\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eORMANDY \u003c\/b\u003eand The Philadelphia Orchestra - The Early Years ∙ Volume 5\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCD 1\n(79:45)\n\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n1. \u003cstrong\u003eJ. S.\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eBACH (arr. O’Connell):\n“Herzliebster Jesu” from \u003cem\u003eSt. Matthew Passion\u003c\/em\u003e, BWV 244\u003c\/strong\u003e (3:05)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 27 March 1940 ∙ Matrix: CS 047825-1 ∙ First issued on Victor 18166\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJ. S. BACH: Brandenburg Concerto No. 2 in F major, BWV 1047\u003cbr\u003e\u003c\/strong\u003e2. 1st Mvt. – [Allegro] (4:47)\u003cbr\u003e3. 2nd Mvt. – Andante (4:39)\u003cbr\u003e4. 3rd Mvt. – Allegro assai (2:49)\u003cbr\u003e\u003cstrong\u003eAlexander Hilsberg, \u003c\/strong\u003e\u003cem\u003esolo violin\u003c\/em\u003e\u003cstrong\u003e; Saul\nCaston,\u003c\/strong\u003e\u003cem\u003e solo trumpet\u003c\/em\u003e\u003cstrong\u003e; William Kincaid,\u003c\/strong\u003e\u003cem\u003e solo\nflute\u003c\/em\u003e\u003cstrong\u003e; Marcel Tabuteau,\u003c\/strong\u003e\u003cem\u003e solo oboe\u003c\/em\u003e \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 12 November 1938 ∙ Matrices: CS 028831-2, 028832-1 \u0026amp; 028833-1\n∙ First issued on World’s Greatest Music SR-14\/15\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJ. S. BACH: Brandenburg Concerto No. 3 in G major, BWV 1048\u003cbr\u003e\u003c\/strong\u003e5. 1st Mvt. – [Allegro] (6:24)\u003cbr\u003e6. 3rd Mvt. – Allegro (3:23)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 12 November 1938 ∙ Matrices: CS 028840-1, 028841-1 \u0026amp; 028842-1\n∙ First issued on World’s Greatest Music SR-15\/16\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMOZART Symphony No. 40 in G minor, K.550\u003cbr\u003e\u003c\/strong\u003e7. 1st Mvt. – Molto allegro (7:13)\u003cbr\u003e8. 2nd Mvt. – Andante (7:49)\u003cbr\u003e9. 3rd Mvt. – Menuetto. Allegro – Trio (4:00)\u003cbr\u003e10. 4th Mvt. – Finale. Allegro assai (4:25)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 12 November 1938 ∙ Matrices: CS 028834-1, 028835-1, 028836-1,\n028837-1, 028838-1 \u0026amp; 028839-1 ∙ First issued on World’s Greatest Music\nSR-8\/10\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBEETHOVEN Symphony No. 5 in C minor, Op. 67\u003cbr\u003e\u003c\/strong\u003e11. 1st Mvt. – Allegro con brio (7:39)\u003cbr\u003e12. 2nd Mvt. – Andante con moto (9:45)\u003cbr\u003e13. 3rd Mvt. – Scherzo: Allegro (5:07)\u003cbr\u003e14. 4th Mvt. – Allegro – Presto (8:33)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 17 October 1938 ∙ Matrices: CS 027814-2, 027815-1, 027816-1,\n027817-1, 027818-1, 027819-1, 027820-1 \u0026amp; 027821-1 ∙ First issued on\nWorld’s Greatest Music SR-4\/7\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCD 2\n(61:39)\n\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eSCHUBERT Symphony No. 8 in B minor, D.759 “Unfinished”\u003cbr\u003e\u003c\/strong\u003e1. 1st Mvt. –Allegro moderato (10:50)\u003cbr\u003e2. 2nd Mvt. – Andante con moto (11:33)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 17 October 1938 ∙ Matrices: CS 027808-2, 027809-1, 027810-1,\n027811-1, 027812-1 \u0026amp; 027813-1 ∙ First issued on World’s Greatest Music\nSR-1\/3\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBRAHMS Symphony No. 2 in D major, Op. 73\u003cbr\u003e\u003c\/strong\u003e3. 1st Mvt. – Allegro non troppo (14:31)\u003cbr\u003e4. 2nd Mvt. – Adagio non troppo (9:53)\u003cbr\u003e5. 3rd Mvt. – Allegretto grazioso (quasi andantino) (5:38)\u003cbr\u003e6. 4th Mvt. – Allegro con spirito (9:10)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 26 March 1939 ∙ Matrices: CS 035400-1, 035401-2, 035402-1,\n035403-2, 035404-2A, 035405-1, 035406-2, 035407-1, 035408-1 \u0026amp; 035409-1 ∙\nFirst issued on World’s Greatest Music SR-28\/32\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 20px;\"\u003eEugene Ormandy ∙ The Philadelphia Orchestra\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eSpecial thanks to Nathan Brown and Charles Niss for providing source\nmaterial\u003cbr\u003eAll recordings made in the Academy of Music, Philadelphia\n\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eTotal duration: 2hr 21:24\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":44064726319194,"sku":"vag1789304063183","price":82.96,"currency_code":"USD","in_stock":true},{"title":"320kbps Mono MP3","offer_id":44064726351962,"sku":"haj1789304063184","price":71.01,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/3807\/0874\/files\/ormandy-and-the-philadelphia-orchestra---the-early-years-complete---pabx046_1.jpg?v=1789304070","url":"https:\/\/vestorawear.shop\/products\/ormandy-and-the-philadelphia-orchestra-the-early-years-complete-pabx046","provider":"My Store","version":"1.0","type":"link"}