Well - I may have discovered something unfortunate - this version might be Chardon and not Mitropoulos. I have found a duplicate reel with the same performance (even coughing in the same place). That one is dated Nov 6th, 1947. And says Chardon. During this time Mitropoulos was in NY conducting the NYPSO so it couldn't have been him. I do think that Feb of 1947 is too early for the archive - I have nothing else that early, not even close. Everything starts in the fall of 1947. Still, this was Mitropoulos' orchestra so certainly even with Chardon conducting the heavy imprint of his influence is present. There is a small chance that the Feb 2nd 1947 date (on the box: 2-2-47) might have meant 12-2-47 (December 2nd 1947) and Mitropoulos might have been back by then! It's a mystery that likely won't get solved as the young people's concerts weren't documented very well. Though! I do have a 1949 children's concert program that was in a reel box - that's pretty cool and definitely Mitropoulos.

Well - I may have discovered something unfortunate - this version might be Chardon and not Mitropoulos. I have found a duplicate reel with the same performance (even coughing in the same place). That one is dated Nov 6th, 1947. And says Chardon. During this time Mitropoulos was in NY conducting the NYPSO so it couldn't have been him. I do think that Feb of 1947 is too early for the archive - I have nothing else that early, not even close. Everything starts in the fall of 1947. Still, this was Mitropoulos' orchestra so certainly even with Chardon conducting the heavy imprint of his influence is present. There is a small chance that the Feb 2nd 1947 date (on the box: 2-2-47) might have meant 12-2-47 (December 2nd 1947) and Mitropoulos might have been back by then! It's a mystery that likely won't get solved as the young people's concerts weren't documented very well. Though! I do have a 1949 children's concert program that was in a reel box - that's pretty cool and definitely Mitropoulos.

Any chance to hear this terrific ensemble is wonderful, a scratchy fourth movement notwithstanding. Glad you came across the rest of it! Thanks as always for posting.

Que versión más emocionante,muchas gracias

Some nerdy technical thoughts: I've mentioned this on other videos but generally when you see a reel playing at 15 inches per second on my channel (IPS), it means it was recorded with a Brush Soundmirror - a very early magnetic audio tape recorder. In my experience those recordings are very quiet, and often a semitone sharp (fast). Because of it being very quiet you can see the VU meters barely move even with the scale switch on the Pioneer in the +6db mode. But if you look at the digital VU on my JBL to the left you can see the sound - that's because I have heavily boosted the signal as it's coming in to my recording software (Logic). Luckily these Brush recorders also didn't have a ton of noise - it's not absent of noise... it IS tape after all! - but it could be far worse.

Nice!

Terrific performance and wonderful restoration work as always. You'd never know it was cobbled together from multiple reels. The Quartet existed in one form or another for about 50 years, recording with Columbia Records. They had their ups and downs, disagreements, members being shown the door, ill health and tragically, a suicide. Thankfully, many of their recordings are available on CD and thanks, to you, this little gem!

Digna versión para este Schumann inspirado

I found the rest of the performance! Posted here: kzbin.info/www/bejne/eaS6i6Vui6lljpo

Awesome! I was actually looking for Mitropoulos on KZbin, as he made my favorite studio recording. I found this and had a holy you-know-what moment. Thank you!!

In the endless space of information Your site is unique!Lot of thanks 🙏

The Egmont and Coriolan Overtures are really underrated works. They manage to create an incredible atmosphere in just a few minutes. Hope they didn't tell the kiddies the story behind the overture, it's pretty grim... Thanks as always for bringing these performances back to life!

Poderosa y sorprendente versión,muchas gracias como siempre

Rumbalero is completely new to me and I love it. Some excellent work by the trumpets and clarinet soloist throughout. I could easily picture this as a dance number in a 1940s movie. I've always enjoyed Leroy Anderson's mix of clever and cheeky touches in his music from the Syncopated Clock to my favourite of his works, the Typewriter. Listening to Promenade, I started to wonder what an alternate universe version of Pictures at an Exhibition composed by Anderson would have sounded like! Cheers and thanks for posting.

Really nice. Thank you!

Musica y orquesta de gran calidad,muchas gracias

If you look at the program (tiny.cc/lco6001) you can see Rumbalero is not on it. The announcer (who apparently is not Joseph Wagner but sounds a lot like Steve Allen but definitely is not!) says it is by special request. I had a hard time tracking down that sound and as far as I can tell it's the only recording of Rumbalero out there - certainly the only one on KZbin.

I found a reel with the rehearsal of this performance: kzbin.info/www/bejne/aJnUc6VonM5riLc

Interesting - I've found a reel that is a rehearsal of part of this: kzbin.info/www/bejne/aJnUc6VonM5riLc

Found some more detail about this piece after pulling up an unheard reel from the archive - a "Jazz at the Pops Night" at St. Paul Auditorium from 1948. Apparently Joseph Wagner was the conductor for the Pops night - and also according to an article I found - the conductor of the Duluth (Minnesota) Symphony. Here's the relevant text of the article: "Joseph Wagner, conductor of the Duluth Symphony orchestra now completing his final week as guest conductor of the St. Paul Pop concerts, gave one of his own composition: its world premiere in the St. Paul auditorium Friday night, It was his Fantasy in Technicolor for piano and symphony orchestra. Bernhard Weiser, New York pianist, was the guest artist and he dealt with the excitement and technical difficulties of the Fantasy with impressive ease. While the work was avowedly, and a shade satirically, in the popular vein there was a basis of sound musicianship in both the composition and the joint performance. Weiser also played Concerto in Jazz for Piano an Orchestra by the English jazz pianist Phillips, and this was brilliantly presented, too, but had to yield to the Wagner opus with the latter's American flair. It was jazz at the Pops night, so the program as a whole was light, with Gershwin Grofe and Morton Gould represented."

Such a valuable document, since he only made one recording of a Beethoven symphony, the 6th. So it's especially nice to hear a rehearsal of one he never recorded.

Thanks for dusting this off and tidying it up! Always fascinating to hear a conductor like Mitropoulos at work. Shame there was no audience present for either this rehearsal or the actual recording. For all their occasional faults, an audience does provide an additional ambience that lifts a performance from being completely studio bound. Looking forward to the next gem.

Can anyone hear what Mitropoulos is saying to the orchestra at the various points he speaks? I can't make it out but it's always great to hear his distinctive "quack" of a voice.

Happy and successful New year🎀

My understanding is that, at some point, Milstein and Szell had a serious falling out and didn't get along at all subsequently

Great fun! I mainly know this from the Chasins paraphrase. Nice to hear it in full score.

Menotti never published The Island God, and said "it's made up of very bad Italian music, with no saving graces." So this is the derniere performance of anything from it, perhaps.

Thank you so much for uploading this treasure:) Md. Thorborg's speaking voice is amazing❤

Really impressive repair work! I haven't heard anything from Schwanda in years so this is a real treat. I think I'd have to listen to this with headphones on to hear the ghostly voices. Ironically, we've just finishing the Alastair Sim version of A Christmas Carol and there are plenty of ghostly voices in that! I did pickup on the underlying music after the three minute mark but it didn't detract from the overall experience of getting to hear even a short excerpt from a pretty lively opera! Hearing Deems Taylor was nice as well. His own operas, The King's Henchman and Peter Ibbotsen were both performed at the Met over the years.

Izotope is impressive software. Well done

If anyone is curious to hear how bad it was before - here's an unlisted video with the original. 3:22 and onwards is particularly bad: kzbin.info/www/bejne/d2WpkIWred2KgKc

Wow! This is awesome and a nice look into the mid-modern era of American composition. Funny to hear Menotti referred to as the "young" Italian-American composer. For those familiar with his holiday classic Amahl and the Night Visitors, I can also recommend his operas The Consul and The Last Savage, which was first performed at the Opera-Comique in Paris and then had a star-studded production at the Met, with George London, Roberta Peters, Teresa Stratas and Nicolai Gedda in the cast. Thanks as always for resurrecting these wonderful performances.

Excellent document❤

This was previously released on Pristine Classical PASC 133. Andrew Rose was able to remaster it from the rebroadcast of the performance the next day on the 21st, from the original masters. The audio quality of that release is superior since he was able to use the original source material. It's from the same CD as the Schumann Symphony #2, which you have previously uploaded.

You may have to shop dialogue isolation plugins and invert waveforms of the isolated voices to cancel them out. Still tricky, because they are optimized for modern digital recs. Might not isolate well even if you find a better plugin.

What is the name of the program you're using? I have a 1965 Met Don Carlo which has an odd audio effect that I'd like to try to freshen up.

What a gem! Thanks for uncovering this. Great to listen to Howard K. Smith’s early broadcast work

Could you patch from the 1954 commercial recording on Sony Masterworks Heritage to cover the small gaps?

Anyone interested in learning more about Krenek and Mitropoulos in the 1940s should do a Google search for a 1980 doctoral dissertation by the late Olive Jean Bailey entitled "The Influence of Ernst Krenek on the Musical Culture of the Twin Cities." It's posted online and you can even download it. For a few years back then Saint Paul and Minneapolis became one of this country's important centers for new music thanks to the presence of Krenek, Mitropoulos, and then Minneapolis Symphony concertmaster Louis Krasner in the community. Krenek taught at Hamline University in Saint Paul from 1942-1947, and during those years Mitropoulos programmed five of his works on MSO subscription concerts: I Wonder as I Wander (Symphonic Movement in the Form of Variations on a North Carolina Folksong) on 11 December 1942; Symphony No. 2 on 23 December 1943; Cantata for War Time (world premiere) on 24 March 1944; Tricks and Trifles on 22 March 1946; and his Piano Concerto No. 3 -- a work written for Mitropoulos as both conductor and soloist -- on 22 November 1946 (also a world premiere).

What a wonderfull recording. Thank yoy

Exceptional!

Que hermoso,un gran y versátil director