The Original Jacket Collection: Eugene Ormandy

The Original Jacket Collection: Eugene Ormandy

The Original Jacket Collection: Eugene Ormandy
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Composer: Ottorino Respighi / Bela Bartok
Composer: Modest Mussorgsky
Composer: Nikolai Rimsky-Korsakov
Composer: Serge Rachmaninov
Composer: Pyotr Il'yich Tchaikovsky
Composer: Felix Mendelssohn / Johann S. Bach
Composer: Dmitri Shostakovich
Composer: Johann Christian Bach
Conductor: Eugene Ormandy
Orchestra: Philadelphia Orchestra
Edition: Music CD
Format: Box set, Limited Edition
CD Release Date: 2008-06-24
Music Label: Sony Classics
Soundtracks:
Music CD 1
  1. Pini di Roma (The Pines of Rome), symphonic poem, P. 141: I pini di Villa Borghese. Allegretto vivace. Vivace
  2. Pini di Roma (The Pines of Rome), symphonic poem, P. 141: Pini presso una catacomba. Lento
  3. Pini di Roma (The Pines of Rome), symphonic poem, P. 141: I pini del Gianicolo
  4. Pini di Roma (The Pines of Rome), symphonic poem, P. 141: I pini della Via Appia: Tempo di Marcia
  5. Fontane di Roma (The Fountains of Rome), symphonic poem, P. 106: La fontana di Valle Giulia all'alba. Andante mosso
  6. Fontane di Roma (The Fountains of Rome), symphonic poem, P. 106: La fontana del Tritone al mattino. Vivo
  7. Fontane di Roma (The Fountains of Rome), symphonic poem, P. 106: La fontana di Trevi al meriggio. Allegro moderato. Allegro vivace. L
  8. Fontane di Roma (The Fountains of Rome), symphonic poem, P. 106: La fontana di Villa Medici al tramonto. Andante
  9. Feste romane (Roman Festivals), symphonic poem, P. 157: Circenses
  10. Feste romane (Roman Festivals), symphonic poem, P. 157: Il giubileo
  11. Feste romane (Roman Festivals), symphonic poem, P. 157: L'Ottobrata
  12. Feste romane (Roman Festivals), symphonic poem, P. 157: La befana
Music CD 2
  1. Pictures at an Exhibition (Kartinki s vïstavski), for orchestra, orchestrated by Ravel: Promenade
  2. Pictures at an Exhibition (Kartinki s vïstavski), for orchestra, orchestrated by Ravel: Gnomus (The Gnome)
  3. Pictures at an Exhibition (Kartinki s vïstavski), for orchestra, orchestrated by Ravel: Promenade
  4. Pictures at an Exhibition (Kartinki s vïstavski), for orchestra, orchestrated by Ravel: Il vecchio castello (The Old Castle)
  5. Pictures at an Exhibition (Kartinki s vïstavski), for orchestra, orchestrated by Ravel: Promenade
  6. Pictures at an Exhibition (Kartinki s v�¯stavski), for orchestra, orchestrated by Ravel: Tuileries (Children's Dispute after a Game)
  7. Pictures at an Exhibition (Kartinki s v�¯stavski), for orchestra, orchestrated by Ravel: Bydlo
  8. Pictures at an Exhibition (Kartinki s v�¯stavski), for orchestra, orchestrated by Ravel: Promenade
  9. Pictures at an Exhibition (Kartinki s v�¯stavski), for orchestra, orchestrated by Ravel: Ballet des petits poussins dans leurs coques
  10. Pictures at an Exhibition (Kartinki s vïstavski), for orchestra, orchestrated by Ravel: Samuel Goldenburg and Schmuyle
  11. Pictures at an Exhibition (Kartinki s vïstavski), for orchestra, orchestrated by Ravel: Limoges. Le Marché (The Market Place of Limog
  12. Pictures at an Exhibition (Kartinki s vïstavski), for orchestra, orchestrated by Ravel: Catacombae. Sepulchrum romanum (Catacombs. A
  13. Pictures at an Exhibition (Kartinki s vïstavski), for orchestra, orchestrated by Ravel: Cum mortuis in lingua morta (With the Dead in
  14. Pictures at an Exhibition (Kartinki s vïstavski), for orchestra, orchestrated by Ravel: La Cabane de Baba-Yaga sur des pattes de poul
  15. Pictures at an Exhibition (Kartinki s vïstavski), for orchestra, orchestrated by Ravel: La grande Porte de Kiev (The Great Gate of Ki
  16. Scheherazade, symphonic suite for orchestra, Op. 35: The Sea and Sinbad's Ship
  17. Scheherazade, symphonic suite for orchestra, Op. 35: The Story of the Kalander Prince
  18. Scheherazade, symphonic suite for orchestra, Op. 35: The Young Prince and the Young Princess
  19. Scheherazade, symphonic suite for orchestra, Op. 35: Festival at Baghdad. The Sea. The Ship goes to pieces on a rock surmounted by a
Music CD 3
  1. Symphony No. 2 in E minor, Op. 27: Largo. Allegro molto
  2. Symphony No. 2 in E minor, Op. 27: Allegro molto
  3. Symphony No. 2 in E minor, Op. 27: Adagio
  4. Symphony No. 2 in E minor, Op. 27: Allegro vivace
  5. Vocalise, transcription for orchestra, Op. 34/14
Music CD 4
  1. Symphony No. 5 in E minor, Op. 64: Andante. Allegro con anima
  2. Symphony No. 5 in E minor, Op. 64: Andante cantabile, con alcuna licenza. Moderato con anima
  3. Symphony No. 5 in E minor, Op. 64: Valse
  4. Symphony No. 5 in E minor, Op. 64: Finale (Andante maestoso). Allegro vivace
  5. Serenade for strings (or piano, 4 hands) in C major, Op. 48: Pezzo in forma di sonatina
  6. Serenade for strings (or piano, 4 hands) in C major, Op. 48: Waltz
  7. Serenade for strings (or piano, 4 hands) in C major, Op. 48: Elegia
  8. Serenade for strings (or piano, 4 hands) in C major, Op. 48: Finale (Tema Russo)
Music CD 5
  1. Concerto for Orchestra, Sz. 116, BB 127: Introduzione. Andante non troppo. Allegro vivace
  2. Concerto for Orchestra, Sz. 116, BB 127: Giuoco delle coppie. Allegro scherzando
  3. Concerto for Orchestra, Sz. 116, BB 127: Elegia. Andante non troppo
  4. Concerto for Orchestra, Sz. 116, BB 127: Intermezzo interrotto. Allegretto
  5. Concerto for Orchestra, Sz. 116, BB 127: Finale. Pesante. Presto
  6. The Miraculous Mandarin, suite for orchestra, Sz. 73a, BB 82 (Op. 19)
  7. Pictures (2) (Két kép), for orchestra, Sz. 46, BB 59 (Op. 10): In Full Flower
  8. Pictures (2) (Két kép), for orchestra, Sz. 46, BB 59 (Op. 10): Village Dance
Music CD 6
  1. Violin Concerto in E minor, Op. 64: Allegro molto appassionato
  2. Violin Concerto in E minor, Op. 64: Andante
  3. Violin Concerto in E minor, Op. 64: Allegretto ma non troppo. Allegro molto vivace
  4. Violin Concerto in D major, Op. 35: Allegro moderato
  5. Violin Concerto in D major, Op. 35: Conzonetta. Andante
  6. Violin Concerto in D major, Op. 35: Finale. Allegro vivacissimo
Music CD 7
  1. Symphony No. 1 in F minor, Op. 10: Allegretto
  2. Symphony No. 1 in F minor, Op. 10: Allegro
  3. Symphony No. 1 in F minor, Op. 10: Lento
  4. Symphony No. 1 in F minor, Op. 10: Allegro molto
  5. Cello Concerto No. 1 in E flat major, Op. 107: Allegretto
  6. Cello Concerto No. 1 in E flat major, Op. 107: Moderato
  7. Cello Concerto No. 1 in E flat major, Op. 107: Cadenza
  8. Cello Concerto No. 1 in E flat major, Op. 107: Allegro con moto
Music CD 8
  1. Toccata and Fugue, for organ in D minor, BWV 565 (BC J37)
  2. Concerto for harpsichord, strings & continuo No. 5 in F minor, BWV 1056: Arioso
  3. Minuet for keyboard No. 1 in G major (AMN II/1; by Christian Pezold, not JSB), BWV Anh. 114
  4. Musette for keyboard in D major (AMN II/22; doubtful), BWV Anh. 126
  5. Bist du bei mir, aria arranged for voice & continuo (after Gottfried Stölzel), BWV 508
  6. March for keyboard in D major (by CPE Bach, not JSB; Anna Magdalena Clavier-Büchlein No. 2/16), BWV Anh. 122
  7. Ein feste Burg ist unser Gott (I), chorale setting for 4 voices, BWV 302 (BC F53.1)
  8. Cantata No. 147, 'Herz und Mund und Tat und Leben,' BWV 147 (BC A174): Jesu, Joy Of Man's Desiring
  9. Fugue for organ in G minor ('Little'), BWV 578 (BC J66)
  10. Passacaglia and Fugue, for organ in C minor, BWV 582 (BC J79)
  11. Prelude for keyboard in E major (Six Little Preludes No. 5), BWV 937 (BC L68)
  12. Orchestral Suite No. 3 in D major, BWV 1068: Air on the G String
  13. Cantata No. 208, 'Was mir behagt,' (Hunt Cantata), BWV 208 (BC G1, G3): Sheep May Safely Graze
  14. Komm, süsser Tod, for voice & continuo (Schemelli Gesangbuch No. 868), BWV 478 (BC F227)
  15. Cantata No. 140, 'Wachet auf, ruft uns die Stimme,' BWV 140 (BC A166): Sleepers Awake
Music CD 9
  1. Toccata, Adagio and Fugue, for organ in C major, BWV 564 (BC J36)
  2. Symphony for double orchestra 'No. 26' in E flat major, Op. 18/1, CW C26 (T. 269/4): Allegro spiritoso
  3. Symphony for double orchestra 'No. 26' in E flat major, Op. 18/1, CW C26 (T. 269/4): Andante
  4. Symphony for double orchestra 'No. 26' in E flat major, Op. 18/1, CW C26 (T. 269/4): Allegro
  5. Symphony for double orchestra in D major Op. 18/3 (Overture: Endimione, second version), CW G15ov/b (T. 270/4): Allegro
  6. Symphony for double orchestra in D major Op. 18/3 (Overture: Endimione, second version), CW G15ov/b (T. 270/4): Andante
  7. Symphony for double orchestra in D major Op. 18/3 (Overture: Endimione, second version), CW G15ov/b (T. 270/4): Allegro assai
  8. Sinfonia in D minor ('Adagio and Fugue'), F. 65 (BR C7)
  9. Concerto for violin (or viola, or 4 violas) & piano (or orchestra) in D major, H. 497 (spurious; by Henri Casadesus): Allegro moderat
  10. Concerto for violin (or viola, or 4 violas) & piano (or orchestra) in D major, H. 497 (spurious; by Henri Casadesus): Andante lento m
  11. Concerto for violin (or viola, or 4 violas) & piano (or orchestra) in D major, H. 497 (spurious; by Henri Casadesus): Allegro
Music CD 10
  1. Nocturne for string orchestra (arranged by Malcolm Sargent from String Quartet No. 2)
  2. Cavalleria rusticana, opera (melodramma) in 1 act: Intermezzo
  3. Londonderry Air (Danny Boy), folk song
  4. Adagio for strings (or string quartet; arr. from 2nd mvt. of String Quartet), Op. 11
  5. Andante cantabile, for cello and string orchestra in D major (arr. of 2nd mvt. from String Quartet No.1)
  6. Valse Triste, for orchestra (from Kuolema), Op. 44/1
  7. Lyric Suite for orchestra (orchestration of Op. 54): Notturno No. 5. Andante
  8. VÃ¥ren (Last Spring), elegiac melody for orchestra (or piano) No. 2, Op. 34/2
  9. �légie: O doux printemps d'autrefois, for voice & piano (from 'Mélodies, Vol.1')
  10. To a Wild Rose, for piano, Op. 51/1 (Woodland Sketches)
  11. Fantasia on Greensleeves, for harp, flute & strings (arranged by R. Greaves; from the opera 'Sir John In Love')
  12. Fantasia on a Theme by Thomas Tallis, for 2 string orchestras

Music reviews of The Original Jacket Collection: Eugene Ormandy

Music Review: Ormandy remembered and listened to anew
Rating: 4 Stars

Santa Fe listner may be a "top 100 reviewer", whatever that means, but he
protests too much! His criticism is, in this case, simplistic and goes way beyond reviewing the set at hand.

First off, all orchestral musicians are individuals. Some will dislike
the conductor they must work with; some will tolerate; some will go over
a cliff for them. So a few grumbling, growling comments from some hardly
represent a mandate. Further, the worst place to review what the audience hears is often from the stage, no matter how one feels about the people in charge. Every conductor extolled in SFL's review had such
comments (some far more full of venom, by the way) as those about Ormandy

I am also of the baby boomer era...probably exactly Santa Fe Listener's
age. I have no nostalgia for Ormandy/Philly recordings because, frankly, I was listening to all of those other "approved" versions at the time.

I did hear Ormandy live, both with the Philadelphia Orchestra and as a guest conductor. Those concerts have stuck in my mind as some of the finest orchestral concerts I ever attended. I recall that Ormandy could
work miracles as a guest conductor. When I heard him live, I always became aware of the incredible sound an orchestra could produce under him. I also noticed that this was done with minimal choreography on
the podium (Bernstein was "king" then) and that one concentrated more on the music than watching the conductor. It wasn't an "interpretation-free zone". It was hardly "emotionally flat".

I did have some of these recordings in my collection, but rarely took a
serious listening of them. Everything SFL says was the chatter then.

Later, when Sony re-issued much of the Ormandy/Philadelphia material on
the now sadly gone "Essential Classics" series, I found out how wrong much of that chatter was. The Philadelphia Orchestra was truly a virtuoso ensemble made up of some of the most important players in the U.S.. Many players taught at Curtis Institute and trained the next generation in Philadelphia, not to mention the many musicians who
filled positions in the major orchestras all over this country. The Philadelphia Orchestra of the Ormandy era is one with tradition and
heritage at the heart of all it does.

When I listen to many of these recordings, it is not the conductor I am
listening to, but the playing. There is flexibility, unity of phrasing, little nuances which only a few ensembles have ever attained together.
This isn't "entry level" conducting. It is a conductor who HEARS something a different way...a conductor who knows his players well and encourages them to dig in a little more, phrase with style, and play
colorfully. It may not have all of the "interpretive insights" and the empty excitement wished for by some, bit these performances don't
sound just like anyone else's, either. Maybe Ormandy's critics are a bit too set in their own prejudices to notice what some of the rest of us HEAR. SFL's review is full of that same old condescension we have been berated with for years, including Ormandy's lifetime.

To the boxed set: This wouldn't have been my first choice all around. It is a good start. But, here are some other areas to explore:

Still findable on Amazon, used, look for the Brahms Symphonies 1 & 2.
Sibelius Symphonies 2 & 7 (emotionally flat??), later Shostakovich symponies, Prokofiev Symphonies 1 & 5, R. Strauss "works for the stage".

Archive is re-publishing many of the RCA recordings on CD for the first
time in the U.S. Check out the website...there are some wonderful
finds (try the late "Heldenleben" and Tchaikovsky "Manfred").

If you still do LPs, some of the best work this orchestra and conductor
ever did was on old mono Columbias which have never been re-issued...
Prokofiev Symphony 7, early Rachmaninov Symphony #3 (nothing like the later ones!) Isle of the Dead, Stravinsky "Rite of Spring", Sibelius
Symphonies 4 & 5 (the most driven #4 ever recorded)...on and on. These are often found in thrift stores and are worth the hunt.

Stereo LPs, particularly RCAs have gems which haven't been re-issued too.
Because Bernstein, Walter and Szell were also on Columbia, their versions of much of the standard repertoire made it to cd and the Ormandy versions, perhaps less "distinctive", never got a re-issue (try
the Schubert "Great" Symphony, Ormandy's holds its own with all of that
distinguished company in that difficult to pull off work!)


I'm a professional musician. No one holds all the truths. I wouldn't state that these are "favorite" or "best" versions. I don't believe anyone can state that. However, Ormandy's body of work was substantial
(hundreds of recordings) and of a very high order. One can learn much
about the orchestral repertoire from seriously listening to many of these recordings. There are judicious tempi, balances, turns of phrase,
extra bow on the string, beautiful(but dreaded these days)uses of portamento, careful dynamic gradations, incredibly satisfying sonorities,
all dispatched with authority and ease. For some of us, that can be a wonderful and satisfying intellectual and emotional journey by itself. For some, I guess, it never will be.....You be the judge!



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