S S O J g , M O l J O J I r . .' - W I. . A H V U 8 l 1 ~ , s n w Foreword There is no substitute for a live performance; the only things that are not under the player's control are the acoustics and the conductor-what you hear is what you get. This is not the case with recordings. Where you sit for the recording session may be on the opposite side of the stage from where you sat at last night's concert. You may be in a different hall. You may not be in the low brass line. A microphone may be near or far away. Then of course there are the engineer and the producer and the cutting room editor, etc., etc., etc. The sound you have spent a lifetime developing can be changed by the turning of a knob, and your best take could be on the cutting room floor. These conditions have led me to say that recording money is blood money. Having said all of that, let me get to the book at hand. For those readers who don't have the opportunity to hear all the great low brass players and orchestras of the world in live performances, we are blessed with an abundant supply of fine recordings. This book is the result of a semester sabbatical project, which actually took three years to finish. Professor Sloan's survey of eighty-four teachers, performers and students of low brass instruments was only part of his research. He includes many comparative criticisms from publications pertaining to the recording industry and is the holder of his own strong opinions gained by lots of listening. Professor Sloan most definitely has achieved his goal of offering a "most wanted list" featuring the low brass f .. mily. I recommend the book for all interested musicians who would like an extensive listing/comparison of exemplary recorded low brass playing. Ronald Bishop The Cleveland Orchestra LIBRARY UNIVERSITY OF KENTUCKY ~ Table of Contents INTRODUCfION .................................................................................................................................. 1 SURVEY RESPONDENTS ...................................................................................................................3 RECOMMENDED RECORDINGS.......................................................................................................5 ANNOTATIONS.................................................................................................................................. 17 INDEX-A (by Participant) ...................................................................................................................74 INDEX-B (by Orchestra) .....................................................................................................................77 INDEX-C (by Conductor)....................................................................................................................79 INDEX-D (Survey Results) ................................................................................................................. 82 APPENDIX-I (References) .................................................................................................................. 83 (Books) ................................................................................................................................... 83 (Periodicals) ........................................................................................................... : ............... 83 (Sources) ................................................................................................................................ 84 APPENDIX-II (Additional Recordings Recommended by the Author) ..............................................86 APPENDIX-III (Addendum) ............................................................................................................... 88 , , ~ @ 1997 Encore Music Publishers ~ all rights reserved printed in U.S.A. ~ ~ INTRODUCTION This book is the result of a survey conducted during a 1994 sabbatical. It consists of annotations of 382 recordings recommended by 83 teachers, performers, and students of the low brass family (which includes tuba, trombone, and euphonium-or tenor tuba), plus a table and various indices and appendices. I felt it would be unrealistic to separate the instruments, as they work together so closely in an orchestral context. Plus, the greatest admirers of good tuba players are often the trombone players who sit beside them, and vice versa. It was nice to be able to straddle the bulwarks of our self-imposed like-instrument ghettos. Maybe we should venture forth more often. "Had we but world enough, and time" I would do similar projects involving high brass, plus chamber recordings, solo recordings, jazz recordings (several correspondents regretted not being able to respond in the latter category) and concert band recordings. But to finish the project in a reasonable amount of time, I had to set parameters. Boston Symphony bass trombonist Douglas Yeo cautioned against fostering "trombone jocks" (i.e. how many string quartet recordings do you own?), but this is far from the author's intent. The book is meant primarily for teachers and their students who wish to study orchestral excerpts with the aid of specific suggested recordings. Robert Kehle thought it odd that certain standard repertoire works were omitted (like the Mozart Requiem), which I attempted to partially remedy in Appendix-IT. Mark Nelson observed: "If the majority of responses turn out to be of material that is out-of-print, you have a problem of how to educate the next generation with available material!" In that respect it has been gratifying to ~ e the reissue of several neglected items (e.g. Kubelik's CSO Mercury recordings, Martinon's CSO Nielsen Fourth on RCA, Mehta's LA Varese album on Decca) during the course of this survey. I have concluded that, if you are patient and know where to look, there is nothing that won't turn up eventually on compact disc. Part of the impetus for this project came from the Sunday book section of a local newspaper, a somewhat voyeuristic column called "What They're Reading," listing the bedside titles of various public and literary figures. "In literature, as in love, we are astonished at what is chosen by others" (Andre Maurois). I learned that this applies to recordings as well. Another literary quote (Kenneth Rexroth) proved useful: ''Taste is an individual thing. If it is not wide-ranging and erratic, captious and unpredictable, it is not taste but snobbery." Teachers and professional players always encourage students to "listen," but they rarely make specific suggestions. When I began this study, the classical CD market was being glutted at the rate of 600 new titles (including reissues) per month! Reviewers couldn't keep up; retailers couldn't keep up (even those who were sympathetic to classical music); and consumers couldn't keep up. With 80 Boleros listed in the Fall '94 Schwann Opus (and countless hundreds out of print), something had to be done, something resembling guidance, though I wouldn't for a moment wish to deprive anyone of the thrill of self-discovery. Since then, the record companies have engaged in their own version of down-sizing, because they didn't want to saturate the market, because orchestras (especially American) have become too expensive to record, and because we probably don't need an 81 51recording of Bolero! All of which is in a way encouraging, though it may have negative consequences for the working musician in this country. Part of the impetus was from my realization that the mainstream music magazines rarely make specific observations pertaining to low brass (there are some notable, and often hilarious, exceptions). And the low brass periodicals, for obvious reasons, seem to focus on :;010 and chamber recordings. My polling methods were unconventional and based mostly on a postal survey undertaken during my sabbatical. But I also made phone calls, went on-line, commissioned secret agents, and gleaned information from publicity flyers and back issues of periodicals like ITA Journal, TUBA Journal, Brass Bulletin, and The Instrumentalist. Some of the participants are no longer living. Some have changed spouses, jobs, and even occupations (I listed what they were doing in 1994). Some recommended only one recording, some as many as nineteen. Doug Yeo was concerned that "tooting one's own horn (so to speak) carries with it a certain dismgenuousness that makes one immediately suspicious." But I typically asked professional players to recommend their own recordings, others for recordings that were influential or else admirable from a low brass standpoint. Chicago Symphony principal trombonist Jay Friedman did not respond to the survey but wrote an interesting article on conductors (Roll Over Beethoven) in the Sept. '93 issue of The Instrumentalist. M. Dee Stewart's Arnold Jacobs: The Legacy 0/a Master I is an essential book which also contains references to recordings. Likewise Brian Frederiksen's Arnold Jacobs: Song and Wind (WindSong Press, 1996). Cleveland tubist Ron Bishop's tribute (Arnold Jacobs on Record: Its Influence on Me, May '88 TUBA Journal) was an inspiration, as was Tom Everett's 3-partA Survey o/Orchestral Bass Trombonists published in the ITA Journal (Vol. VII. VIII, and IX). An apparent bias toward the Chicago Symphony (one eighth of the recommended recordings are by the CSO) can be explained in several ways. They are recognized throughout the world for their brass section. Their recordings with Fritz Reiner coincided with a period which audiophiles consider the golden age of high fidelity. Plus I studied with trombonist Frank Crisafulli for several years and heard the orchestra many times, mostly at Ravinia. I thought it interesting that Crisafulli played with the CSO for 50 years and recommended only one recording. His successor, Michael Mulcahy, had played with them only 5 years and recommended a dozen. If I had an East or West Coast background, I'm sure the teachers, students, and colleagues polled would reflect that particular orientation. But I tried to include as many (North) American orchestras as possible and even a few British I Copyright 1987 The Instrumentalist Publishing Company. Used with permissic ~ . J and European ones as well. I served merely as referee and did not include myself in the survey, though Appendix-II will attempt to supplement existing recommendations. Since I generally asked for five, and frequently put people on the spot by doing so, I consider it only fair to list my own (pre-survey) Desert Island choices: 1) Bart6k, Bela-Concerto for Orchestra, Reiner/Chicago (RCA) 2) Holst, Gustav-The Planets, MehtaILos Angeles (DeccaILondon) 3) Ives, Charles-Symphony No. I, Morton Gould/Chicago (RCA) 4) Ives, Charles-Symphony No.4, StokowskilAmerican Symphony (CBS) 5) Mahler, Gustav-Symphony No.8, SoltilChicago (DeccaILondon) Post-survey choices might include: 6) Britten, Benjamin-Four Sea Interludes from "Peter Grimes, " HandleylUlster (Chandos) 7) Prokofiev, Serge-Romeo & Juliet excerpts, AnferUCzech Philharmonic (Supraphon) 8) Respighi, Ottorino-Church Windows, L6pez-CoboS/Cincinnati (Telarc) 9) Rott, Hans-Symphony in E major, Segerstam/Norrkoping (Bis) 10) Varese, Edgar-Arcana, MehtaILos Angeles (DeccaILondon) Writing about recordings is like trying to hit a moving target: they are in a constant state of flux, going in and out of print at an alarming rate. I was able to locate over ninety percent of the recommended recordings, though some have been remastered beyond recognition (for better AND for worse). The most recent CD number is given, though many will be obsolete by the time this appears in print. There will undoubtedly be mistakes in a book with this many record numbers and attempted personnel attributions. Incidentally, I have adopted the American Record Guide procedure of including only the core number of albums; much of the rest is redundant. Also, I have avoided cross-referencing compositions (e.g. item #269 could have been listed under Stravinsky instead of Shostakovich). Views from mainstream critics have been incorporated along with specifics from the low brass community, acknowledging engineers when appropriate. Material has been indexed to provide maximum utility. One can make certain assumptions, e.g. that low brass players enjoy Mahler (47 different entries!), Bruckner (25), Strauss (24), Tchaikovsky (20), Shostakovich (20), Prokofiev (19), and Wagner (19). One can assume they like Stravinsky'S Rite of Spring, Holst's The Planets, and Mussorgsky's Pictures at an Exhibition. Several people recommended the orchestral excerpts series on Summit Records (alluded to frequently in the text), and there were a couple of honorable mentions for the old Chicago excerpts album on the ERB label, which has passed into the realm of legend. Finally, listen to live performances whenever possible. Recordings are only a substitute. Listen to classical radio, but don't assume a recording will sound the same in your living room (automobile speakers seem to emphasize the mid range). Don't assume, if you enjoyed Symphony No. X by a given composer/orchestralconductornabel, that ensuing installments will be as good. Inspiration comes and goes, as do microphone placement and the whims of conductors and engineers. Seek out scores and study them. The more understanding you have of a composer's intentions, the more knowledgeable will be your interpretation. The goal of all great low brass teachers is not to produce automatons but musicians who HAPPEN to play the trombone or tuba. It is hoped, in the course of reading about and listening to these performances, that you will experience many times the quaint phrase used by Ron Bishop: that they "make your ears smile." Ralph Sauer sums this up, in expert fashion, in the notes to his Summit excerpts disc: "This recording is meant to be an aural guide for the aspiring orchestral [player]-not a model to be duplicated. Keep in mind that different recording equipment, different recording environments, and different playback equipment will drastically alter your perception of sound. Please try to obtain recordings of these major audition pieces by great orchestras and conductors. Here, too, you must remember that recording company philosophy and microphone placement can (and often does!) give a distorted perception of the [low brass] sound. Ideally, you should listen to live concerts in a fine concert hall, because only in this way will you be able to hear the true [low brass] sound." This book would not have come to fruition without a good deal of assistance. First, I would like to acknowledge my son Brady, without whose help and encouragement it would not have been started, let alone finished. I am also grateful to the Fulbright College of Arts and Sciences at the University of Arkansas for granting a semester's leave during which the bulk of this project was completed. Chalon Ragsdale, Chairman of the Department of Music, provided travel funds. John Harrison, Director of Libraries, acquired necessary recordings. Norma Johnson, Fine Arts Librarian, was conscientious in helping track down elusive items. P.J. Robowski, Music Director of station KUAF, allowed me into their recorded archives. Thanks to Encore Recordings in Ann Arbor, Vintage Vinyl in St. Louis, the Music Exchange in Kansas City, and Been Around Records in Little Rock for happening to have some of the out-of-print items; also the library at Cleveland Institute of Music. The following people were especially generous with essential information/materials: J0rgen Arnsted, Ed Bahr, Alan Burdick, Hill Easterwood, Thomas Everett, Michael Fellinger, Bill Hartman, John Kitzman, Liz Lester, Gene Pokorny, Allison Sloan, Lee Smith, Kabin Thomas, Scott Watson, Steve Witser, Carlton Woods, Douglas Yeo, and Jerry Young. Thanks to my wife Nancy for her patience and support, and to Karen Standley for her help with editing. And thanks especially to all the survey participants. Gerald Sloan (Fayetteville, September '96) 2 SURVEY RESPONDENTS Tuba: Volta Anders. Arkansas Symphony Orchestra J0rgen Arnsted. Odense Symphony Orchestra (Denmark) Ronald Bishop. Cleveland Orchestra Roger Bobo. Los Angeles Philharmonic Orchestra (retired) William Ciabattari. North Arkansas Sym,'hony Orchestra Kelly Diamond. United States Navy Band Eugene Dowling. Victoria Symphony David Fedderly. Baltimore Symphony Orchestra Everett Gilmore. Dallas Symphony Orchestra Lee Hipp. San Antonio Symphony Orchestra Arnold Jacobs. Chicago Symphony Orchestra (retired) Wesley Jacobs. Detroit Symphony Orchestra Fritz Kaenzig. Grant Park Municipal Orchestra (Chicago) Wesley Lowe. Classical Manager of Streets ide Records (St. Louis) Scott Mendoker. Rutgers University James Morrison. University of MissourilKansas City Mark Nelson. Millikin University Gene Pokorny. Chicago Symphony Orchestra Jack Robinson. University of Northern Colorado William Rose. Houston Symphony Orchestra (retired) Michael Sanders. St. Louis Symphony Orchestra John Stevens. University ofWisconsinlMadison Kabin Thomas. Arkansas Symphony Orchestra Michael Thornton. Cincinnati Symphony and Pops Orchestras Ross Tolbert. Minnesota Orchestra Abe Torchinsky. Philadelphia Orchestra (retired) Heiko Triebener. Bamberg Symphony Orchestra (Germany) Charles Villarubia, Boston University Scott Watson, University of Kansas Keith Yarbrough. Winston Salem and Greensboro Symphony Orchestras (North Carolina) Jerry Young, University ofWisconsinlEau Claire EuphoniumlTenor TubaIBass Trumpet: Edward Bahr. Delta State University Martin Fako. Chicago Lyric Opera Michael Mulcahy. Chicago Symphony Orchestra M. Dee Stewart. Philadelphia Orchestra (retired) Denis Winter. Arkansas Symphony Orchestra Trombone: Joseph Alessi. New York Philharmonic Orchestra Alan Burdick. conductor. Lawton (Oklahoma) Philharmonic Orchestra Randy Campora. Baltimore Symphony Orchestra Sam Chen. student. Cleveland Institute of Music Frank Crisafulli. Chicago Symphony Orchestra (retired) Hill Easterwood. North Arkansas Symphony Orchestra Peter Ellefson. Seattle Symphony Orchestra Thomas Everett. Harvard University Michael Fellinger. San Diego Symphony Orchestra David Finlayson. New York Philharmonic Orchestra Jay Friedman. Chicago Symphony Orchestra Robert Hamrick. Pittsburgh Symphony Orchestra William Hartman. Springfield (Missouri) Symphony Orchestra Randall Hawes. Detroit Symphony Orchestra 3 ------_...-------_..... " ' ~ " - ' " ,._-----------------------------,.... Karl Hinterbichler. University of New Mexico Bob Hughes, London Symphony Orchestra (Britain) Melvyn Jernigan. St. Louis Symphony Orchestra (retired) Steve Kamilos. North Arkansas Symphony Orchestra Robert Kehle. Springfield (Missouri) Symphony Orchestra John Kitzman. Dallas Symphony Orchestra Donald Knaub. EastmanIRochester Symphony (retired) Mark Lawrence. San Francisco Symphony Orchestra Michael Levine. Dallas Brass Jeannie Little. Interlochen Arts Academy Serge Lortie. Quebec Symphony Orchestra (Canada) Harry Maddox. Atlanta Symphony Orchestra Sara Mauk. Chicago Pops Orchestra Byron McCulloh, Pittsburgh Symphony Orchestra (retired) Warren Olfert. Cameron College (Oklahoma) Ava Ordman. Grand Rapids (Michigan) Symphony Orchestra Allen Ostrander. New York Philharmonic (deceased) Raymond Premru. Phil harmonia of London (retired) Jeffrey Reynolds. Los Angeles Philharmonic Orchestra Marty Reynolds. South Arkansas Symphony Orchestra Ralph Sauer. Los Angeles Philharmonic Orchestra Nathan Siler. student, Cleveland Institute of Music Brady Sloan, student. Cleveland Institute of Music Benny Sluchin, Ensemble InterContemporain (France) Milton Stevens, National Symphony Orchestra Henry Charles Smith, Philadelphia Orchestra (retired) David Vining, University of Kansas David Waters, Houston Symphony Denis Wick. London Symphony Orchestra (retired) Russell Widener. Wichita (Kansas) Symphony Orchestra Steve Witser. Cleveland Orchestra Douglas Yeo, Boston Symphony Orchestra Steven Zellmer. Minnesota Orchestra (deceased) 4 COMPOSER TITLE CONDUcrORJ LABEL ORCHESTRA VOTES I Bach.1.S. Toccata & Fugue in d minor. etc. Leopold Stokowski & his Orchestra Angel 69072 Robinson 2 Barber. S. Music of Samuel Barber Slatkin/St. Louis Symphony Angel 49463 Orchestra Pokorny 3 Barber. S. Symphony No. I JlirvilDetroit Symphony Orchestra Chandos 8958 2 4 Barber. S. Symphony No. I Zinman/Baltimore Symphony Argo 436288 Orchestra Campora 5 Barber. S. The Lovers Schenck/Chicago Symphony Koch 7125 Orchestra Pokorny 6 Bart6k. B. Concerto for Orchestra DutoitIMontreal Symphony London 421443 Orchestra B. Sloan 7 Bart6k. B. Concerto for Orchestra. Miraculous Mandarin Suite. etc. Ormandy/Philadelphia Orchestra , Sony 48263 H.C. Smith 8 Bart6k. B. Concerto for Orchestra Reiner/CSO RCA 61504 3 9 Bart6k. B. Concerto for Orchestra SohilCSO London 400052 Vining 10 Bart6k. B. Concerto for Orchestra StokowskiIHouston Symphony Everest 9008 Orchestra Rose II Bart6k. B. Hungarian Sketches. etc. DoratilMinneapolis Symphony Mercury 432005 Orchestra Fako 12 Bart6k. B. Miraculous Mandarin Boule71CSO 00447747 2 13 Bart6k. B. Miraculous Mandarin DoratilDetroi t London 411894 W. Jacobs 14 Bart6k. B. Miraculous Mandarin (suite) OzawaIBoston Symphony Orchestra 00437247 Everett 15 Bart6k. B. Miraculous Mandarin/ KodaIy: Hary Janos Suite. etc. Schwar7lSeattle Symphony Delos 3083 Orchestra Ellefson 16 Bart6k. B. Miraculous Mandarin/ Concerto for Orchestra Slatkin/St. Louis RCA 61702 Sanders 17 Bart6k. B. Miraculous Mandarin (suite) SoltilCSO London 430352 Easterwood 18 Beethoven. L. Symphony No.9 Bernstein/Bavarian Radio 00429861 Symphony Orchestra and guests Robinson 19 Beethoven. L. Symphony No.9 Norrington/London Classical Angel 49221 Players Easterwood 20 Berg. A. 3 Pieces AbbadolLondon Symphony Orchestra 00423238 Vining 21 Berlioz. H. Harold in Italy. plus overtures DutoitIMontreal London 421193 Robinson 22 Berlioz. H. La Marseillaise & Other Berlioz Favorites Zinman/Baltimore Telarc 80164 2 23 Berlioz. H. Overtures DavisILSO Philips 422253 2 24 Berlioz. H. Requiem OzawaIBoston RCA 62544 Yeo 25 Berlioz. H. Requiem ShaW/Atlanta Symphony Orchestra Telarc 80109 Maddox 26 Berlioz. H. Romeo & Juliette DavisILSO Philips 416962 Wick 27 Berlioz. H. Romeo & Juliette ..... GiulinilCSO Angel 47616 2 5 COMPOSER TIlLE CONDUcrOR! LABEL VOlES ORCHESTRA 28 Berlioz. H. Romeo & Juliette. excerpts TalmiiSan Diego Symphony Naxos 553195 Fellinger Orchestra 29 Berlioz. H. Symphonie fantastique MehtalNew York Philhannonic London 400046 2 Orchestra 30 Berlioz. H. Symphonie fantastique NorringtonlLCP EMI49541 Yeo 31 Berlioz. H. Symphonie fantastique SoltilCSO London 417705 4 32 Berlioz. H. Symphonie fantastique SoltilCSO. live London 436839 Mulcahy 33 Berlioz. H. Symphonie fantastique ZinmanlBaltimore Telarc 80271 Campora 34 Berlioz. H. Symphonie funebre et DutoitIMontreal London 417302 Hinterbichler triomphale 35 Bernstein. L. Fancy Free. etc. Slatkin/SI. Louis Angel 63905 Jernigan 36 Bloch. E. ScheIomo (from "The New ZinmanlBaltimore Sony 57961 Campora York Album") 37 Boston Pops By Request WiIliamsIBoston Pops Orchestra Philips 420178 Kitzman 38 Boston Pops Music for Stage & Screen Wi lIiamsIB PO Sony 64147 Yeo 39 Boston Pops Out of this World WilliamsIBPO Philips 411185 Yeo 40 Boston Pops Pops alA Russe Wi lliamsIB PO Philips 426247 Yeo 41 Boston Pops SpielbergIWilIiams WiIliamsIBPO Sony 45997 Yeo Collaboration 42 Brahms. J. German RequiernlVerdi's Shawl Atlanta Telarc 80092 Maddox Te Deum 43 Brahms. J. Symphonies (complete) KarajanlBerlin Philharmonic 00429644 Robinson Orchestra 44 Brahms. J. Symphonies (complete) l...evinelCSO RCA CRlA-3425 Vining 45 Brahms. J. Symphonies (complete) OrmandylPhiladelphia Columbia O3S-758" Watson 46 Brahms. J. Symphonies (complete) SoltilCSO London 414458 2 47 Brahms. J. Symphonies (complete) WalterlNYPO CBS 3-0dyssey 3 32360007* 48 Brahms. J. Symphony No. I EschenbachIHouston Virgil, 59223 Waters 49 Brahms. 1. Symphony No.2 HaitinkIBoston Philips 432094 Yeo 50 Brahms. 1. Symphony No.2 K1eiberIVienna Philhannonic Exclusive 9210 Friedman Orchestra 51 Brahms,J. Symphony No.2 , MutilPhiladelphia Philips 422334 Alessi 52 Brahms. 1. Symphony No.2 SteinbergIPittsburgh Symphony MCA 9817B Hamrick Orchestra 53 Brahms. 1. Symphony NO.3 Eschenbach/Houston Virgin 45006 Waters 54 Britten. B. Young Person's Guide to PrevinILSO EMI252124 Villarubia the Orchestra 55 Bruckner. A. Symphonies. complete BarenboirnlCSO 00429025 Ellefson 56 Bruckner. A. Symphony No.3 SinopoliIDresden State Orchestra 00431684 Chen 57 Bruckner. A. Symphony NO.4 BarenboirnlCSO 00439448 2 58 Bruckner. A. Symphony No.4 K1empererlPhilhannonia of London Angel 69126 Premru 6 COMPOSER TITLE CONDUCTORI ORCHESTRA LABEL VOTES 59 Bruckner. A. Symphony No.4 MehtalLos Angeles Philharmonic Orchestra London 6695 1. Stevens 60 Bruckner. A. Symphony No.4 Solti/CSO London 410550 2 61 Bruckner. A. Symphonies No.5 & I KarajanlBerlin 00415985 2 62 Bruckner. A. Symphony No.5 Welser-MostlLondon Philharmonic Orchestra EMI55125 Easterwood 63 Bruckner. A. Symphony No.6 BlomstedtlSan Francisco Symphony Orchestra London 436129 Lawrence 64 Bruckner. A. Symphony No.6 DohnanyilCleveland Orchestra London 436153 2 65 Bruckner. A. Symphony No.6 EschenbachIHouston private issue Waters 66 67 Bruckner. A. Bruckner. A. Symphony No.6 Symphony No.6 Klemperer/Philharmonia SoltilCSO , Angel 63351 London 417389 Premru Easterwood 68 Bruckner. A. Symphony No.6 SteinIVienna London 6880 Watson 69 Bruckner. A. Symphony No.7 BarenboimlCSO 00429025 B. Sloan 70 Bruckner. A. Symphonies No.7 & 8 BoehmlVienna 00 2709068 Kitzman 71 72 Bruckner. A. Bruckner. A. Symphony No.7 Symphony No.7 DohminyilCleveland Karajanl8erlin London 430841 00419195 Bishop 2 I 73 Bruckner. A. Symphony No. 7 LOpez-CoboS/Cincinnati Symphony Orchestra Telarc 80188 3 I 74 Bruckner. A. Symphony No.7 SoltilCSO London 417631 2 75 Bruckner. A. Symphony No.8 KarajanlVienna 00 427611 Vining 76 Bruckner. A. Symphony No.8 LOpez-Cobos/Cincinnati Telarc 80343 2 77 Bruckner. A. Symphony No.8 SoltilCSO London 430228 Mendoker 78 79 Bruckner. A. Bruckner. A. Symphonies No.8 & 3 Symphony No.8 Szell/Cleveland Wand/Hamburg (NDR) Sony 53519 RCA 60364 2 Triebener I 80 Chabrier. E. Espana. etc. Paray/Detroit Mercury 434303 Bahr 81 Cincinnati Pops The Great Fantasy Adventure Album KunzeUCPO Telarc 80342 Thornton 82 Cincinnati Pops Pomp & Pizazz KunzeUCPO Telarc 80122 Thornton I 83 Copland. A. Billy the KidIRodeo Slatkin/SI. Louis Angel 47382 Bishop 84 Copland. A. Fanfare for the Common Man Johannos/Dallas Symphony Orchestra Vox Box 5035 Hipp 85 Copland. A. Symphony No.3 BernsteinINYPO 00419170 2 86 Copland. A. Symphony No.3 Levi/ Atlanta Telarc 80201 Maddox 87 Copland. A. Symphony No.3 MatalDailas Angel 64304 2 88 Copland. A. Symphony No.3 Slatkin/SI. Louis RCA 60149 2 89 Corigliano. J. Symphony No. I BarenboimlCSO Erato 45601 Ordman 90 Diamond. D. Symphony No.8. This Sacred Ground. etc. Schwarz/Seattle Delos 3141 Ellefson 91 Dvorak. A. Symphony No.6 DohnanyilCleveland London 430204 B. Sloan 7 COMPOSER TITI..E CONDUcrORI LABEL VOTES ORCHESTRA 92 DvoNk.A. Symphony No. 81 Janai:ek: MasurlNYPO Teldec 90847 Alessi Sinfonietta 93 Dvofak. A. Symphony No. 9/ EschenbachIHouston Virgin 91476 Waters Tchaikovsky's Francesca da Rimini 94 Elgar.E. Enigma Variations MehtalLAPO Belart 450021 Watson 95 Elgar.E. Overtures GibsonlScottish National Orchestra Chandos 8309 Yarbrough 96 Elgar.E. Symphony No. I BarbarollilPhilharmonia EMI64511 Premru 97 Elgar. E. Symphony No. I ZinmanlBaltimore Telarc 80310 2 98 Em. D. Concerto for Brass and SlatkinlSt. Louis New World Sanders Orchestra Records 80415 99 Franck. C. Symphony in d minor MaazellCleveland London 7044* Bishop 100 Franck. C. Symphony in d minor MonteuxlCSO RCA 6805 2 101 Gershwin. G. American in Paris Mata/Dallas RCA 7726 Hipp 102 Gershwin. G. Rhapsody in Blue Levine/CSO 00431625 Mendoker 103 Gershwin, G. Rhapsody in Blue PrevinlPittsburgh Philips 412611 Hamrick 104 Gershwin. G. Rhapsody in Blue Paul Whiteman and his Orchestra RCA AVMI- Bahr 1740* 105 Hindemith. P. Concerto for Orchestral Jarvi/CSO Chandos 9000 Pokorny Schmitt Symphony No.3 .106 Hindemith. P. Mathis der Maler/Sym. BlomstedtlSan Francisco Symphony London 421523 6 Metamorphosis. etc. Orchestra 107 Hindemith. P. Mathis der Maler Levi/Atlanta Telarc 80195 Maddox 108 Hindemith. P. Mathis der Maler Ormandy/Philadelphia Sony 53258 2 109 Hindemith. P. Mathis der Maler SteinberglBoston 00423241 Yarbrough , , ~ 110 Hindemith. P. Symphonic Metamor:>hosis KubeliklCSO Mercury Bahr MG50027* III Hindemith. P. Symphonic Metamorphosis Ormandy/Philadelphia Ange147615 Fellinger 112 Holst.G. The Planets BoultlPhilharmonia EMI7135 2 113 Holst.G. The Planets DutoitIMontrea1 London 417553 7 'J.114 Holst.G. The Planets Mata/Dallas ProAne 542 Hipp 115 Holst,G. The Planets MehtalLAPO London 433620 5 116 Holst. G. The Planets MehtalNYPO Teldec 46316 Mendoker 117 Holst. G. The Planets Ormandy/Philadelphia RCA 5207 3 118 Holst.G. The Planets SusskindlSt. Louis Vox 5105 Jernigan 119 Ives. C. Robert Browning Overture MetzmacherlBamberg Symphony EMI55254 Triebener Orchestra 120 Janai:ek. L. SinfoniettalBart6k: Ozawa/CSO Angel 47837 Falco Concerto for Orchestra 121 Jaruii:ek. L. SinfoniettalSlavonic Mass Tilson ThomasILSO Sony 47182 Burdick 122 Janai:ek. L. SinfoniettalTaras Bulba Ani:erl/Czech Philharmonic Supraphon 1929 Bahr 123 KodaIy. Z. Hary Janos Suite Comissiona/Baltimore Vox 9006 Fedderly 8 COMPOSER TIlLE CONDUcrORJ LABEL & # VOTES ORCHESTRA 124 KodaIy. Z. H:I.ry Janos SuitelPeacock JiirvilCSO Chandos 8877 4 Variations 125 KodaIy. Z. H:I.ry Janos Suite MatalDallas Pro Ane403 Hipp 126 Kodaly. Z. H:I.ry Janos MitropoulosiNYPO Columbia 510 I- Ostrander SuitelProkofiev's Lt. Kije 127 KodaIy. Z. H:I.ry Janos Suite Onnandy/Philadelphia CBS 38762 Torchinsky 128 KodaIy. Z. H:I.ry Janos Suite! SzelllCleveland Sony 48162 Bishop Prokofiev's Lt. Kije, Mussorgsky's Pictures I 129 Lutoslawski. W. Symphonies NO.3 & 4 SalonenILAPO Sony 66280 1. Reynolds i 130 Mahler. G. Symphonies. complete de WaartlNetherlands Radio RCA 276012 van Dijk Philhannonic , 131 Mahler. G. Symphonies. complete HaitinklConcertgebouw Orchestra Philips 442050 Yarbrough 132 Mahler.G. Symphonies, complete SoltilCSO London 430804 Easterwood 133 Mahler. G. Symphony No. I MasurlNYPO Teldec 74868 2 134 Mahler. G. Symphony No.1 MutilPhiladelphia EMI47032 Nelson 135 Mahler. G. Symphony No. I SegerstamlDanish National Radio Chandos 9242 Arnsted Symphony Orchestra 136 Mahler. G. Symphony No.2 BernsteinlNYPO Columbia 695* 3 137 Mahler. G. Symphony No.2 BernsteinlNYPO DG423395 4 138 Mahler. G. Symphony No.2 BlomstedtlSan Francisco London 443350 Lawrence 139 Mahler. G. Symphony No.2 KJempererlPhilharmonia EMI69662 Premru 140 Mahler. G. Symphony No.2 MatalDallas Pro Ane 479 Hipp 141 Mahler. G. Symphony No.2 OzawaIBoston Philips 420824 2 142 Mahler. G. Symphony No.2 SinopolilPhilharmonia DG415959 Premru 143 Mahl