{"product_id":"pasc777","title":"STOKOWSKI The Russians (NBC SO, 1941-43) - PASC777","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003ePROKOFIEV\u003c\/b\u003e \u003ci\u003eThe Love for Three Oranges\u003c\/i\u003e - three excerpts\u003cbr\u003e\u003cb\u003eSHOSTAKOVICH\u003c\/b\u003e Symphony No. 6\u003cbr\u003e\u003cb\u003eMUSSORGSKY\/STOKOWSKI\u003c\/b\u003e \u003ci\u003eBoris Godunov\u003c\/i\u003e - Symphonic Synthesis\u003cbr\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e \u003ci\u003eThe Tempest\u003c\/i\u003e, Op. 18; \u003ci\u003eThe Storm\u003c\/i\u003e, Op. 76\u003cbr\u003e\u003cb\u003ePROKOFIEV\u003c\/b\u003e \u003ci\u003eAlexander Nevsky\u003c\/i\u003e, Op. 78\u003cbr\u003e\u003cb\u003eMUSSORGSKY\/STOKOWSKI\u003c\/b\u003e \u003ci\u003ePictures at an Exhibition\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eLive and broadcast recordings, New York, 1941-43\u003cbr\u003eTotal duration: 2hr 33:49\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eJennie Tourel\u003c\/b\u003e, mezzo-soprano\u003cbr\u003e\u003cb\u003eWestminster Choir\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC777.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eLeopold Stokowski’s three seasons with the NBC Symphony Orchestra coincided with a moment when Russian music carried meanings far beyond the concert hall. Between 1941 and 1944 the United States and Soviet Union became uneasy wartime allies, Shostakovich’s \u003ci\u003eLeningrad\u003c\/i\u003e Symphony became an international symbol of resistance, and Prokofiev’s music for \u003ci\u003eAlexander Nevsky\u003c\/i\u003e, conceived before the war, suddenly acquired a striking new relevance. Stokowski was ideally placed to exploit this repertoire. His enthusiasm for Russian music stretched back decades, while his championing of Shostakovich had already brought the Sixth Symphony its first performance outside the Soviet Union in Philadelphia in 1940.\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eProkofiev’s \u003ci\u003eThe Love for Three Oranges\u003c\/i\u003e excerpts opened Stokowski’s NBC concert on 18 November 1941. Nine days later he would make a studio recording of the same three pieces, but this earlier performance has the freedom and electricity of live music-making. Reviewing its later issue, Jonathan Woolf found the NBC Symphony “superbly drilled”, while the March, taken at exhilarating speed, has a military brilliance entirely appropriate to Stokowski’s conception.\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eShostakovich’s Sixth Symphony followed in the same session, continuing after the scheduled broadcast had ended. Its unusual design had puzzled audiences from the beginning: a long, introspective Largo followed by two increasingly extrovert movements, ending not in tragedy but in an almost manic Presto. Stokowski had been among its earliest and most determined advocates. At the 1940 American première, Virgil Thomson found the work “clear, obvious, effective, old-fashioned”, while Edwin Schloss heard in the finale “Comrade John Philip Sousa, in blouse and boots.” Stokowski himself was much more convinced, writing that repeated hearings revealed its “unusual expressive profundity”.\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eOne week later, on 25 November 1941, another surviving continuous source carries the listener beyond the end of the scheduled NBC programme and into Stokowski’s Symphonic Synthesis from Mussorgsky’s \u003ci\u003eBoris Godunov\u003c\/i\u003e. Stokowski had long believed that orchestral adaptations could bring great dramatic music to audiences who might otherwise never encounter it. His \u003ci\u003eBoris\u003c\/i\u003e is no pot-pourri: it condenses the opera into six connected scenes, preserving its monastery bells, coronation splendour, dark processions and the death of the Tsar while dispensing with voices altogether. Modern opinion has been divided over such liberties, but Mark Swed in the \u003ci\u003eLos Angeles Times\u003c\/i\u003e described the work as “wonderfully thrill-seeking”.\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eTchaikovsky provides the bridge between the two discs. \u003ci\u003eThe Storm\u003c\/i\u003e, broadcast on 29 November 1942, and \u003ci\u003eThe Tempest\u003c\/i\u003e, heard on 7 March 1943, are both youthful Shakespearean tone poems and both remained outside Stokowski’s commercial discography. That is surprising, for their surging climaxes, long-breathed melodies and opportunities for glowing orchestral colour might almost have been designed for him. Reviewing these NBC performances more than sixty years later, a \u003ci\u003eMusicWeb\u003c\/i\u003e critic found them “typically visceral and occasionally even wilful”.\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe centrepiece of the collection is Prokofiev’s \u003ci\u003eAlexander Nevsky\u003c\/i\u003e, given its first American performance on 7 March 1943, with Jennie Tourel, the Westminster Choir and the NBC Symphony Orchestra. The cantata had grown from Prokofiev’s score for Sergei Eisenstein’s 1938 film depicting the medieval Russian defeat of the invading Teutonic Knights. By 1943 its scenes of invasion, devastation and resistance required little explanation. A surviving contemporary programme records that the \u003ci\u003eNew York Times\u003c\/i\u003e praised the work’s unusual dramatic force and its unavoidable resonance with the current war in Russia, calling it a “composition with a unique dramatic effect.” Prokofiev himself explained that, although he had rebuilt the music according to purely symphonic principles, something of Eisenstein’s visual world remained embedded in it.\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eJennie Tourel, born in the Russian Empire and later one of the outstanding mezzo-sopranos of her generation, was Stokowski’s soloist in the première. The engagement came at a decisive point in her American career; a few years later \u003ci\u003eTime\u003c\/i\u003e recalled that Stokowski had chosen her for \u003ci\u003eAlexander Nevsky\u003c\/i\u003e just as her reputation was beginning to take off.\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe collection closes with another piece that Stokowski effectively made his own. His orchestration of Mussorgsky’s \u003ci\u003ePictures at an Exhibition\u003c\/i\u003e was conceived in conscious contrast to Ravel’s famous transcription. Where Ravel favoured transparency and virtuoso brilliance, Stokowski sought darker sonorities, heavier basses, massed brass, percussion and eventually organ. His opening Promenade emerges from low strings and woodwind rather than trumpet, and he omitted \u003ci\u003eTuileries\u003c\/i\u003e and \u003ci\u003eThe Marketplace at Limoges\u003c\/i\u003e, believing their specifically French character out of place in the Russian sequence. Modern critics have variously called the result darker, more pungent and more Russian than Ravel; whatever one’s preference, the two versions inhabit remarkably different orchestral worlds.\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThese broadcasts therefore amount to more than a miscellaneous Russian anthology. They document Stokowski using one of America’s finest orchestras as both virtuoso instrument and experimental laboratory, revisiting music he had championed for years while introducing audiences to works they scarcely knew. Heard together, they also capture something particular to their moment: Russian music performed in wartime New York with an urgency that neither conductor nor audience could have regarded as merely historical.\u003c\/p\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\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eSTOKOWSKI\u003c\/b\u003e The Russians\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 1\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (76:48)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePROKOFIEV\u003c\/b\u003e \u003ci\u003eThe Love for Three Oranges\u003c\/i\u003e - three excerpts\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e01.\u003c\/span\u003e Infernal Scene\u003cspan style=\"font-size: 12px;\"\u003e (2:58)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e02.\u003c\/span\u003e The Prince and the Princess\u003cspan style=\"font-size: 12px;\"\u003e (4:16)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e03.\u003c\/span\u003e March\u003cspan style=\"font-size: 12px;\"\u003e (1:49)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003eRecorded 18 November 1941, Cosmopolitan Opera House, New York\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSHOSTAKOVICH\u003c\/b\u003e Symphony No. 6\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e04.\u003c\/span\u003e I. Largo\u003cspan style=\"font-size: 12px;\"\u003e (16:52)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e05.\u003c\/span\u003e II. Allegro\u003cspan style=\"font-size: 12px;\"\u003e (6:03)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e06.\u003c\/span\u003e III. Presto\u003cspan style=\"font-size: 12px;\"\u003e (7:25)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003eRecorded 18 November 1941, Cosmopolitan Opera House, New York\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMUSSORGSKY\/STOKOWSKI\u003c\/b\u003e \u003ci\u003eBoris Godunov\u003c\/i\u003e - Symphonic Synthesis\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e07.\u003c\/span\u003e Outside the Novodievichi Monastery\u003cspan style=\"font-size: 12px;\"\u003e (6:34)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e08.\u003c\/span\u003e Coronation of Boris\u003cspan style=\"font-size: 12px;\"\u003e (5:16)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e09.\u003c\/span\u003e Monks chanting in the Chudov Monastery\u003cspan style=\"font-size: 12px;\"\u003e (2:14)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Siege of Kazan\u003cspan style=\"font-size: 12px;\"\u003e (1:24)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Outside the Church of Saint Basil\u003cspan style=\"font-size: 12px;\"\u003e (3:58)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Death of Boris\u003cspan style=\"font-size: 12px;\"\u003e (3:46)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003eRecorded 25 November 1941, Cosmopolitan Opera House, New York\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e \u003ci\u003eThe Tempest\u003c\/i\u003e, Op. 18\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003ci\u003eThe Tempest\u003c\/i\u003e, Op. 18\u003cspan style=\"font-size: 12px;\"\u003e (14:07)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003eRecorded 7 March 1943, NBC Studio 8-H, Radio City, New York\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 2\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (77:01)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e \u003ci\u003eThe Storm\u003c\/i\u003e, Op. 76\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e01.\u003c\/span\u003e \u003ci\u003eThe Storm\u003c\/i\u003e, Op. 76\u003cspan style=\"font-size: 12px;\"\u003e (10:23)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003eRecorded 29 November 1942, NBC Studio 8-H, Radio City, New York\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePROKOFIEV\u003c\/b\u003e \u003ci\u003eAlexander Nevsky\u003c\/i\u003e, Op. 78\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e02.\u003c\/span\u003e Russia under the Mongol Yoke\u003cspan style=\"font-size: 12px;\"\u003e (3:00)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e03.\u003c\/span\u003e Song about Alexander Nevsky\u003cspan style=\"font-size: 12px;\"\u003e (2:25)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e04.\u003c\/span\u003e The Crusaders in Pskov\u003cspan style=\"font-size: 12px;\"\u003e (7:04)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e05.\u003c\/span\u003e Arise, Russian People!\u003cspan style=\"font-size: 12px;\"\u003e (2:31)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e06.\u003c\/span\u003e The Battle on the Ice\u003cspan style=\"font-size: 12px;\"\u003e (11:50)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e07.\u003c\/span\u003e The Field of the Dead\u003cspan style=\"font-size: 12px;\"\u003e (6:23)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e08.\u003c\/span\u003e Alexander's Entry into Pskov\u003cspan style=\"font-size: 12px;\"\u003e (4:28)\u003c\/span\u003e\u003cbr\u003e\n\u003cb\u003eJennie Tourel\u003c\/b\u003e, mezzo-soprano\u003cbr\u003e\n\u003cb\u003eWestminster Choir\u003c\/b\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003eRecorded 7 March 1943, NBC Studio 8-H, Radio City, New York\u003cbr\u003eSung in English\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMUSSORGSKY\/STOKOWSKI\u003c\/b\u003e \u003ci\u003ePictures at an Exhibition\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e09.\u003c\/span\u003e Promenade\u003cspan style=\"font-size: 12px;\"\u003e (2:00)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Gnomus\u003cspan style=\"font-size: 12px;\"\u003e (2:19)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Promenade\u003cspan style=\"font-size: 12px;\"\u003e (1:14)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e The Old Castle\u003cspan style=\"font-size: 12px;\"\u003e (3:42)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Bydło\u003cspan style=\"font-size: 12px;\"\u003e (2:08)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e Promenade\u003cspan style=\"font-size: 12px;\"\u003e (0:58)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e Ballet of the Unhatched Chicks\u003cspan style=\"font-size: 12px;\"\u003e (1:07)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e Samuel Goldenberg and Schmuyle\u003cspan style=\"font-size: 12px;\"\u003e (2:54)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e Catacombs\u003cspan style=\"font-size: 12px;\"\u003e (1:55)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e Cum mortuis in lingua mortua\u003cspan style=\"font-size: 12px;\"\u003e (2:47)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e The Hut on Fowl's Legs (Baba-Yaga)\u003cspan style=\"font-size: 12px;\"\u003e (2:54)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e The Great Gate of Kiev\u003cspan style=\"font-size: 12px;\"\u003e (4:49)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 14px;\"\u003eRecorded 21 March 1943, NBC Studio 8-H, Radio City, New York\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 14px;\"\u003eProducer and XR remastering: \u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 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