{"title":"Walter P. Zimmermann Bundles","description":null,"products":[{"product_id":"pasc657","title":"FREDERICK STOCK and The Chicago Symphony, Volume 1 (1916-1926) - PASC657","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003ePreludes \u0026amp; Orchestral Excerpts\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eHungarian Dances\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eDVOŘÁK \u003c\/b\u003eCarnival Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eGOLDMARK \u003c\/b\u003eIn Springtime Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eJ. STRAUSS II\u003c\/b\u003e Four Waltzes\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eSUPPÉ \u003c\/b\u003ePoet And Peasant Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eTHOMAS \u003c\/b\u003eMignon Overture\u003c\/span\u003e\u003cbr\u003emusic by \u003cb\u003eElgar, Sibelius, Handel, Mendelssohn\u003c\/b\u003e et al\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1916-1926\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 30:36\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eChicago Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eFrederick Stock\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC657.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    This release is the first in a series devoted to longtime Chicago Symphony\n    Orchestra music director Frederick Stock, and celebrates the 150th\n    anniversary of his birth. All of Stock’s symphonic recordings will be\n    featured in upcoming volumes (his four concerto recordings have already\n    been well-covered on CD reissues), presented in the order in which they\n    were recorded. Many items have not been available since the 78 rpm era. In\n    this volume, all of the acoustics except for the Mendelssohn are being\n    reissued for the first time, as are the electrics of the Dvořák and Thomas\n    overtures and two Strauss waltzes.\n\u003c\/p\u003e\n\u003cp\u003e\n    Stock was born in Jülich, Germany, on 11 November 1872. His father, an army\n    bandmaster, provided his early musical training. He entered Cologne\n    Conservatory at the age of fourteen studying violin and composition; among\n    his teachers was Humperdinck, and Willem Mengelberg was a classmate. Upon\n    his graduation in 1890, he joined the Municipal Orchestra of Cologne as a\n    violinist. Five years later, he auditioned for the visiting Theodore\n    Thomas, who was recruiting players for his four-year-old Chicago Orchestra.\n    Thomas hired him initially as a violist, but within four years he\n    recognized Stock’s conducting talent and made him his assistant.\n\u003c\/p\u003e\n\u003cp\u003e\n    When Thomas died suddenly in January, 1905, Stock served as interim music\n    director while the orchestra board attempted to secure the services of such\n    well-known European conductors as Weingartner, Richter and Mottl. When the\n    board’s efforts failed, Stock was appointed for a trial year. He was to\n    remain music director until his death thirty-seven years later (20 October\n    1942), a record surpassed among major American orchestras only by Ormandy’s\n    tenure with the Philadelphia, and by few other conductor\/orchestra\n    combinations throughout the world (Mengelberg\/Concertgebouw,\n    Mravinsky\/Leningrad).\n\u003c\/p\u003e\n\u003cp\u003e\n    Stock’s recording career divides neatly into three periods. His Columbia\n    acoustics of 1916-17 (the first recordings made by a credited American\n    orchestra under its own music director) were succeeded, after an eight-year\n    hiatus, by a series of electrical recordings for Victor (1925-30) which\n    included Bach’s B Minor Suite, a Mozart 40th, Schumann’s “Spring” Symphony\n    and Tchaikovsky’s Fifth. After another nine-year absence from the\n    microphone, Stock and the Chicago Symphony rejoined Columbia for two\n    seasons (1939-40 and 1940-41) for an extensive string of recordings\n    including a Mozart “Prague”, the Schubert 9th, the Schumann Fourth, Brahms’\n    Third and \u003cem\u003eTragic\u003c\/em\u003e Overture, Tchaikovsky’s \u003cem\u003eNutcracker\u003c\/em\u003e\n    Suite, Strauss’ \u003cem\u003eAlso Sprach Zarathustra\u003c\/em\u003e and numerous short\n    “popular” works, as well as concerto recordings with Milstein and\n    Piatigorsky. Returning to Victor for what turned out to be his final full\n    season with the orchestra (1941-42), he made two much-admired Beethoven\nconcerto recordings with Schnabel, as well as Dvořák’s    \u003cem\u003eIn Nature’s Realm\u003c\/em\u003e and the Chausson Symphony.\n\u003c\/p\u003e\n\u003cp\u003e\n    The acoustics and early electrics presented in this volume benefit from the\n    lack of re-scoring typical of other recordings of the era, in which tubas\n    reinforced the bass line and other instruments that “projected” better were\n    substituted for the original choices. Only the \u003cem\u003eParsifal\u003c\/em\u003e excerpt\n    seems to be notably lacking in tympani support, which is nonetheless heard\n    elsewhere among the acoustics. The sound on these reveals a reduced\n    ensemble in small venues; yet the well-disciplined playing of the orchestra\n    is apparent even in the earliest recordings. By the time of their first\n    sessions with the full ensemble in the rather over-reverberantly recorded\n    Orchestra Hall, the Chicago Symphony’s stature among the world’s great\n    ensembles has been firmly established, as has their conductor’s\n    rhythmically flexible and vital interpretive approach.\n\u003c\/p\u003e\n\u003cp\u003e\n    The sources for the transfers were American Columbia “Tri-Color” label\n    pressings for the acoustics, and mainly “Z” and “Gold” label Victor\n    pressings for the electrics except for the Brahms, which came from a vinyl\n    test pressing. The second side of the Thomas overture and the Handel and\n    Elgar recordings were dubbed very early on in order to prevent blasting on\n    the heavy pickups of the day. These are presented here from undubbed first\n    edition “Orthophonic” pressings, which, though somewhat heavier in surface\n    noise, better preserve the immediacy and dynamic range of the original\n    recordings.\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    \u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eFREDERICK STOCK\u003c\/b\u003e and The Chicago Symphony, Volume 1\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCD 1 Columbia Acoustics, 1916 - 1917 (74:53)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    1. \n    \n        \u003cstrong\u003e\n            MENDELSSOHN Wedding March from \u003cem\u003eA Midsummer Night’s Dream\u003c\/em\u003e\n        \u003c\/strong\u003e\n   \n    \u003cstrong\u003e, Op. 61 \u003c\/strong\u003e\n    (4:28)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 1 May 1916 ∙ Matrix: 48763-2 ∙ First issued on Columbia A5844\n\n\u003c\/p\u003e\u003cp\u003e\n    2. \u003cstrong\u003eWAGNER Ride of the Valkyries from \u003cem\u003eDie Walküre\u003c\/em\u003e \u003c\/strong\u003e\n    (4:36)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 1 May 1916 ∙ Matrix: 48764-2 ∙ First issued on Columbia A5903\n\n\u003c\/p\u003e\u003cp\u003e\n3.    \u003cstrong\u003eGRIEG The Last Spring from Two Elegiac Melodies, Op. 34 \u003c\/strong\u003e\n    (4:39)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 2 May 1916 ∙ Matrix: 48766-2 ∙ First issued on Columbia A5844\n\n\u003c\/p\u003e\u003cp\u003e\n    4.\n    \u003ca name=\"OLE_LINK3\"\u003e\n        \u003cstrong\u003eSAINT-SAËNS Bacchanale from \u003cem\u003eSamson et Dalila\u003c\/em\u003e\u003c\/strong\u003e\n    \u003c\/a\u003e\n    \u003cstrong\u003e, Op. 47 \u003c\/strong\u003e\n    (4:14)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 2 May 1916 ∙ Matrix: 48770-1 ∙ First issued on Columbia A5903\n\n\u003c\/p\u003e\u003cp\u003e\n    5.\n    \n        \u003cstrong\u003eTCHAIKOVSKY Waltz from \u003cem\u003eSleeping Beauty\u003c\/em\u003e \u003c\/strong\u003e\n    \n    (4:16)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 2 May 1916 ∙ Matrix: 48772-1 ∙ First issued on Columbia A5860\n\n\u003c\/p\u003e\u003cp\u003e\n    6. \u003cstrong\u003eJÄRNFELT Praeludium \u003c\/strong\u003e(2:31)\u003cbr\u003e7. \u003cstrong\u003eFRANÇOIS\u003c\/strong\u003e\u003cstrong\u003e SCHUBERT \u003c\/strong\u003e\u003cstrong\u003eThe Bee from Bagatelles, Op. 13, No. 9 \u003c\/strong\u003e(1:48) \u003cbr\u003eRecorded 2 May 1916 ∙ Matrix: 48776-3 ∙ First issued on Columbia A6014\n\u003c\/p\u003e\n\u003cp\u003e\n    8. \u003cstrong\u003eBIZET \u003cem\u003eCarmen\u003c\/em\u003e – Prelude to Act 4 (Aragonaise) \u003c\/strong\u003e\n    (2:08)\u003cbr\u003e9. \u003cstrong\u003eBIZET \u003cem\u003eL’Arlésienne\u003c\/em\u003e – Farandole \u003c\/strong\u003e(1:19) \u003cbr\u003eRecorded 8 May 1916 ∙ Matrix: 48794-2 ∙ First issued on Columbia A5860\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    10.\n    \n        \u003cstrong\u003e\n            WAGNER Parsifal – Processional of the Knights of the Holy Grail\n        \u003c\/strong\u003e\n    \n    \u003cstrong\u003e \u003c\/strong\u003e\n    (4:25)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 8 May 1916 ∙ Matrix: 48796-1 ∙ First issued on Columbia A5894\n\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n11. \u003cstrong\u003eWAGNER Lohengrin – Prelude to Act 1 \u003c\/strong\u003e(4:23)    \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 8 May 1916 ∙ Matrix: 48803-2 ∙ First issued on Columbia A5894\n\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n12. \u003cstrong\u003eSUPPÉ Poet and Peasant – Overture \u003c\/strong\u003e(7:30)    \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 14 \u0026amp; 15 May 1917 ∙ Matrices: 49193-2 \u0026amp; 49194-2 ∙ First\n    issued on Columbia A5991\n\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    13.\n    \n        \u003cstrong\u003e\n            J. STRAUSS II Thousand and One Nights – Waltz, Op. 346\n        \u003c\/strong\u003e\n    \n    (4:22)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 14 May 1917 ∙ Matrix: 49195-2 ∙ First issued on Columbia A6005\n\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    14.\n   \n        \u003cstrong\u003e\n            WOLF-FERRARI \u003cem\u003eJewels of the Madonna\u003c\/em\u003e - Intermezzo\n        \u003c\/strong\u003e\n   \n    (3:10)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 15 May 1917 ∙ Matrix: 49201-2 ∙ First issued on Columbia A6014\n\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    15. \u003cstrong\u003eSIMONETTI (orch. Stock) Madrigale \u003c\/strong\u003e(2:16)\u003cbr\u003e16. \u003cstrong\u003eSCHUBERT (orch. Stock) Moment musical, D.780, No. 3 \u003c\/strong\u003e\n    (1:48)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 16 May 1917 ∙ Matrix: 49203-2 ∙ First issued on Columbia A6026\n\u003c\/p\u003e\n\u003cp\u003e\n    17.\n   \n        \u003cstrong\u003eGLAZUNOV \u003cem\u003eLes Ruses d’Amour\u003c\/em\u003e, Op. 61 - Waltz \u003c\/strong\u003e\n  \n    (4:29)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 16 May 1917 ∙ Matrix: 49204-1 ∙ First issued on Columbia A6026\n\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    18.\n    \n        \u003cstrong\u003eJ. STRAUSS II Voices of Spring – Waltz, Op. 410 \u003c\/strong\u003e\n    \n    (4:20)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 16 May 1917 ∙ Matrix: 49207-1 ∙ First issued on Columbia A6005\n\n\u003c\/p\u003e\u003cp\u003e\n    19.\n  \n        \u003cstrong\u003eSMITH (orch. Stock) The Star-Spangled Banner \u003c\/strong\u003e\n   \n    (2:39)\u003cbr\u003e20. \u003cstrong\u003eCAREY (orch. Stock) America \u003c\/strong\u003e(1:23)\u003cbr\u003eRecorded 28 May 1917 ∙ Matrix: 49205-1 ∙ First issued on Columbia A5977\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n21.    \u003cstrong\u003eMEACHAM American Patrol – March \u003c\/strong\u003e\n    (3:57)\u003cbr\u003eRecorded 28 May 1917 ∙ Matrix: 49206-2 ∙ First issued on Columbia A5977\n\n\u003c\/p\u003e\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCD 2 Victor Electrics – 1925 - 1926 (75:43)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n1. \u003cstrong\u003eDVOŘÁK Carnival – Overture, Op. 92 \u003c\/strong\u003e(8:51)    \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 19 December 1925 ∙ Matrices: CVE 34049-2 \u0026amp; 34050-2 ∙ First\n    issued on Victor 6560\n\n\u003c\/p\u003e\u003cp\u003e\n2. \u003cstrong\u003eGOLDMARK In Springtime\u003c\/strong\u003e    \u003cstrong\u003e – Overture, Op. 36 \u003c\/strong\u003e(8:30)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 20 December 1925 ∙ Matrices: CVE 34054-4 \u0026amp; 34055-5 ∙ First\n    issued on Victor 6576\n\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003e\nMAC DOWELL (orch. Stock)        Woodland Sketches, Op. 51\u003c\/strong\u003e\u003cbr\u003e3. No. 6: To a Water Lily (2:56)\u003cbr\u003e4. No. 1: To a Wild Rose (2:21)\u003cbr\u003eRecorded 22 December 1925 ∙ Matrices: BVE 34065-5 \u0026amp; 34066-4 ∙ First\n    issued on Victor 1152\n\n\u003c\/p\u003e\u003cp\u003e\n    5. \u003cstrong\u003eSIBELIUS Valse triste from \u003cem\u003eKuolema\u003c\/em\u003e, Op. 44 \u003c\/strong\u003e\n    (4:14)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 22 December 1925 ∙ Matrix: CVE 34067-3 ∙ First issued on Victor\n    6579\n\n\u003c\/p\u003e\u003cp\u003e\n    6.\n    \n        \u003cstrong\u003e\n            VOLKMANN Waltz from Serenade for String Orchestra, Op. 63\n        \u003c\/strong\u003e\n    \n    (3:07)\u003cbr\u003e7.\n   \n        \u003cstrong\u003e\n            RIMSKY-KORSAKOV Flight of the Bumble-Bee from \u003cem\u003eTsar Sultan\u003c\/em\u003e\n        \u003c\/strong\u003e\n  \n    (1:27)\u003cbr\u003eRecorded 22 December 1925 ∙ Matrix: CVE 34068-3 ∙ First issued on Victor\n    6579\n\u003c\/p\u003e\n\u003cp\u003e\n    8.\n    \u003cstrong\u003e\n        WAGNER \u003cem\u003eDie Meistersinger von Nürnberg\u003c\/em\u003e – Prelude to Act 1\n    \u003c\/strong\u003e\n    (9:09)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 20 December 1926 ∙ Matrices: CVE 37270-7 \u0026amp; 37271-6 ∙ First\n    issued on Victor 6651\n\n\u003c\/p\u003e\u003cp\u003e\n    9.\n   \n        \u003cstrong\u003eJ. STRAUSS II – Wine, Women and Song – Waltz, Op. 333 \u003c\/strong\u003e\n    \n    (4:41)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 20 December 1926 ∙ Matrix: CVE 37272-4 ∙ First issued on Victor\n    6647\n\n\u003c\/p\u003e\u003cp\u003e\n    10.\n    \n        \u003cstrong\u003eJ. STRAUSS II – Roses from the South – Waltz, Op. 388 \u003c\/strong\u003e\n   \n    (4:44)\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 21 December 1926 ∙ Matrix: CVE 37274-2 ∙ First issued on Victor\n    6647\n\n\u003c\/p\u003e\u003cp\u003e\n11. \u003cstrong\u003eTHOMAS \u003cem\u003eMignon\u003c\/em\u003e – Overture \u003c\/strong\u003e(7:59)    \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 21 December 1926 ∙ Matrices: CVE 37275-2 \u0026amp; 37276-3 ∙ First\n    issued on Victor 6650\n\n\u003c\/p\u003e\u003cp\u003e\n    \n        \u003cstrong\u003eBRAHMS (orch. Dvořák) Hungarian Dances\u003c\/strong\u003e\u003cbr\u003e12. No. 17 in F sharp minor (1:57)\u003cbr\u003e13. No. 18 in D major (1:07)\u003cbr\u003e14. No. 19 in B minor (1:44)\u003cbr\u003e15. No. 20 in E minor (2:17)\u003cbr\u003e16. No. 21 in E minor (1:20)\u003cbr\u003eRecorded 21 \u0026amp; 22 December 1926 ∙ Matrices: CVE 37277 \u0026amp; 37283 ∙\n    Unissued on 78 rpm\n\u003c\/p\u003e\n\u003cp\u003e\n    17. \u003cstrong\u003eHANDEL – Largo from \u003cem\u003eSerse\u003c\/em\u003e (“Ombra mai fu”) \u003c\/strong\u003e\n    (4:40)\u003cbr\u003e\u003cb\u003eWalter P. Zimmermann\u003c\/b\u003e, organ\u003cbr\u003eRecorded 22 December 1926 ∙ Matrix: CVE 37281-5 ∙ First issued on Victor\n    6648\n\u003c\/p\u003e\n\u003cp\u003e\n18. \u003cstrong\u003eELGAR Pomp and Circumstance \u003c\/strong\u003e    \u003cstrong\u003eMarch No. 1, Op. 39 \u003c\/strong\u003e(4:31)\u003cbr\u003e\u003cb\u003eWalter P. Zimmermann\u003c\/b\u003e, organ\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003eRecorded 22 December 1926 ∙ Matrix: CVE 37282-3 ∙ First issued on Victor\n    6648\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eFrederick Stock ∙ Chicago Symphony Orchestra\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    Producer and Audio Restoration Engineer: Mark Obert-Thorn\n\u003c\/p\u003e\n\u003cp\u003e\n    Special thanks to Nathan Brown and Charles Niss for providing source\n    material\u003cbr\u003eRecording locations: Columbia Studios, New York City (1916-17); Webster\n    Hotel Ballroom, Chicago (1925); and Orchestra Hall, Chicago (1926)\n\n\u003c\/p\u003e\u003cp\u003eTotal duration: 2hr 30:36\u003cbr\u003e\u003c\/p\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_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC657.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC657.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 FLACe","offer_id":39822440595517,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205523063118,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC657_4d46d1cd-cb51-48fa-8ca0-e23d3bc54405.jpg?v=1723985676"}],"url":"https:\/\/www.pristineclassical.com\/collections\/artist-walter-p-zimmermann-bundle.oembed","provider":"Pristine Classical","version":"1.0","type":"link"}