{"product_id":"ormandy-and-the-philadelphia-orchestra-the-early-years-volume-5-1938-40-pasc726","title":"ORMANDY and The Philadelphia Orchestra - The Early Years ∙ Volume 5 (1938-40) - PASC726","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eJ. S. BACH\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Brandenburg Concertos Nos. 2 \u0026amp; 3\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 5\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 2\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 40\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCHUBERT \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 8 \"Unfinished\"\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1938-40\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 21:24\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Philadelphia Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eEugene Ormandy\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fReview578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fAn attractive series which has filled gaps and explored discographic vistas previously untouched since the late 30s578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eThis is the final volume in a series devoted to Ormandy’s ‘early years’ Philadelphia recordings and almost all the material was issued on the World’s Greatest Music in 1938-39. This was a budget-price label designed to produce fine quality recordings of standard repertoire that could undercut Columbia and RCA Victor though, ironically, they were all made and pressed by RCA Victor. The label was inaugurated by the Publishers Service Company which was, as Mark Obert-Thorn outlines in his producer’s note, the publishing arm of the New York Post newspaper. They were issued anonymously but featured such well-known conductors as Reiner, Rodziński and Ormandy himself and sold remarkably well. They must have been the way many Americans ‘learned’ the standard repertoire.\u003c\/p\u003e\u003cp\u003eIt’s been known for a number of years that smaller ensembles were used to save money – 49 players for Bach and Mozart and 74 for the remainder, though Ormandy, of course, always recorded in the Academy of Music, Philadelphia. Almost all sessions seem to have involved just two takes with three takes for problematic sides, and we know that session time was cut to a minimum. For example, the Bach Brandenburg Concertos and Mozart Symphony No.40 were allocated a three-hour session time and for Beethoven’s Fifth and Schubert’s Eighth only two hours ten minutes was allocated. The repertoire may well have been meat and drink to the orchestra but it still created ensemble tensions, especially with reduced forces with, presumably, different seating. There are some ensemble issues in the Bach Concertos as evidenced by an unprecedented four sides for the very first side No.2, of which take two was ultimately used. If they could get away with just the one take they did so. Ormandy’s Bach is mobile for the time and well thought-through, No.2 featuring the orchestra’s well-known soloists, Alexander Hilsberg, Saul Caston, William Kincaid and Marcel Tabuteau.\u003c\/p\u003e\u003cp\u003eThere’s nothing startling about any of the major works, interpretatively. Mozart’s 40 th is beautifully phrased, features a number of portamentos throughout and is traditionally resonant without ever sounding complacent. There’s no repeat in the finale, presumably a money-saving operation, though Ormandy reverted to a full finale in his mid-50s recording. Beethoven’s Fifth sounds very similar to his mid-50s recording. Tempi are almost exactly the same, the conception already well in place. The difference is in sonority and weight and also in the superiority of the playing in the studio LP recording.\u003c\/p\u003e\u003cp\u003eThe only piece in this twofer to have seen prior reissue in any form is Brahms’ Second Symphony, recorded on 26 March 1939, as it was reissued on LP. Ormandy re-recorded it for Victor a few months later with hardly any interpretative differences but it had a richer and more sonorous sound. In 1953, when he returned to it, his conception had tightened somewhat and the first movement and Scherzo were tauter. What this 1939 recording might lack in tonal breadth, it makes up for in clarity. Schubert’s ‘Unfinished’ Symphony is excellent and ensemble is largely unproblematic even given the unforgiving recording schedule. If it’s not quite in the Bruno Walter league – ironically recorded with the same orchestra – or Beecham with the LPO it’s a more-than-acceptable offering for a mass market audience.\u003c\/p\u003e\u003cp\u003eThere is one addition, a Victor recording of Charles O’Donnell’s arrangement of Bach’s ‘Herzliebster Jesu’ from the St Matthew Passion which had escaped previous volumes in this series.\u003c\/p\u003e\u003cp\u003eAs ever, the transfers are excellent. This has been an attractive series which has filled gaps and explored discographic vistas, some of which have been previously untouched since the late 30s.\u003c\/p\u003e\u003cp\u003e\u003cb\u003eJonathan Woolf\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC726.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\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\n578a9379d1e540bd96d26f03a79628d9tab1_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\u003cp\u003e\n\u003cstrong\u003e\n\u003c\/strong\u003e\u003c\/p\u003e\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\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\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\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\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\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\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\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\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\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\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\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\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\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\u003cp\u003e\u003cb\u003eTotal duration: 2hr 21:24\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab2_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_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC726.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC726.pdf578a9379d1e540bd96d26f03a79628d9tab3_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":44064726876250,"sku":"jbz1789304066185","price":15.32,"currency_code":"USD","in_stock":true},{"title":"320kbps Mono MP3","offer_id":44064726909018,"sku":"ecv1789304066186","price":15.25,"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-volume-5-1938-40---pasc_1.jpg?v=1789304073","url":"https:\/\/vestorawear.shop\/products\/ormandy-and-the-philadelphia-orchestra-the-early-years-volume-5-1938-40-pasc726","provider":"My Store","version":"1.0","type":"link"}