23
THE "WORLD'S GREATEST MUSIC" AND "WORLD'S GREATEST OPERA" RECORDS: A DISCOGRAPHY by Michael H. Gray In the autumn of 1938 newspapers throughout the country carried advertisements for a series of records which, in a small way, were to revolutionize the American record industry. These were, of course, the "World's Greatest Music" records, the fruit of a newspaper circulation program carried out by the Publishers Service Company, an arm of the New York Post. Neither conductors nor orchestras were iden- tified on the labels, a fact which at the time led to all kinds of speculation about the identity of the artists involved. One critic, for instance, was sure the performances came from the Columbia catalog. In fact, RCA Victor recorded and pressed the discs using musicians from orchestras then under Victor contracts. A pressing order of 50,000 records was placed for the first set, SR-1 to SR-7, which in- cluded the Schubert Unfinished Symphony and the Beethoven Fifth. By 1940 Time magazine reported that over 1,000,000 of the symphonic records, which by the summer of 1939 totaled 12 compositions on 38 discs, had been sold at a price which severely under- cut the major manufacturers in the business, Columbia and RCA Victor. Just who the performers were on these records has never really been a mystery. Charles O'Connell, the supervisor of the WGM sessions, told us all about it in The Other Side of the Record in 1948. What has been a mystery is what artists played on what records, and now, thanks to RCA's Listings Department, that puzzle is solved. 33

THE WORLD'S GREATEST MUSIC AND WORLD'S GREATEST …arsc-audio.org/journals/v7/v07n1-2p33-55.pdfPublisher's Service Company and aggresively pro ... identities furnished by A.J. Franck

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Page 1: THE WORLD'S GREATEST MUSIC AND WORLD'S GREATEST …arsc-audio.org/journals/v7/v07n1-2p33-55.pdfPublisher's Service Company and aggresively pro ... identities furnished by A.J. Franck

THE "WORLD'S GREATEST MUSIC" AND

"WORLD'S GREATEST OPERA" RECORDS:

A DISCOGRAPHY

by

Michael H. Gray

In the autumn of 1938 newspapers throughout the country carried advertisements for a series of records which, in a small way, were to revolutionize the American record industry. These were, of course, the "World's Greatest Music" records, the fruit of a newspaper circulation program carried out by the Publishers Service Company, an arm of the New York Post. Neither conductors nor orchestras were iden­tified on the labels, a fact which at the time led to all kinds of speculation about the identity of the artists involved. One critic, for instance, was sure the performances came from the Columbia catalog. In fact, RCA Victor recorded and pressed the discs using musicians from orchestras then under Victor contracts. A pressing order of 50,000 records was placed for the first set, SR-1 to SR-7, which in­cluded the Schubert Unfinished Symphony and the Beethoven Fifth. By 1940 Time magazine reported that over 1,000,000 of the symphonic records, which by the summer of 1939 totaled 12 compositions on 38 discs, had been sold at a price which severely under­cut the major manufacturers in the business, Columbia and RCA Victor.

Just who the performers were on these records has never really been a mystery. Charles O'Connell, the supervisor of the WGM sessions, told us all about it in The Other Side of the Record in 1948. What has been a mystery is what artists played on what records, and now, thanks to RCA's Listings Department, that puzzle is solved.

33

Page 2: THE WORLD'S GREATEST MUSIC AND WORLD'S GREATEST …arsc-audio.org/journals/v7/v07n1-2p33-55.pdfPublisher's Service Company and aggresively pro ... identities furnished by A.J. Franck

Perhaps even more intriguing to record collectors, and just as puzzling, were the operatic records re­leased two years later under the "World 1 s Greatest Opera" label, produced and pressed again by RCA Victor. We'll leave aside here the two symphonic sets of the Nutcracker Suite and the Beethoven Eighth Symphony recorded at the same time as the tail end of the symphonic record series). A new organization called The National Music Appreciation Committee sponsored the records in association with the Publisher's Service Company and aggresively pro­moted them through local Music Appreciation organi­zations in an attempt to capitalize on the phenomenal success of the symphonic series. Like the symphonic records, the operatic records were recorded with almost no rehearsal, in order to save valuable session time. Members of the Philadelphia Orchestra and the Metropolitan Opera Orchestra and Chorus were most likely used with conductors (according to O'Connell) Wilfrid Pelletier, William Steinberg, Alexander Smallens, and O'Connell himself. To do the job as cheaply as possible, 0' Connell has said, "CIJt was necessary to employ ••. singers of real ability who would sing for very little money." These singers included Eleanor Steber, Norman Cordon, and Leonard Warren•

Who the others were, unfortunately, can in most cases only be guessed, for neither the session sheets nor the record cards on which this discography is based proved to be much help in sorting out the iden­tities of the voices. For this reason I have used identities furnished by A.J. Franck from his review of the records in the American Music Lover of November 1940, and from James Hinton's letter to High Fidelity, published in October 1956. These are designated by brackets in the discography itself. Other information is as I found iti Records in the World's Greatest Music series are arranged by session dates; those in the World's Greatest Operas series, because of the common practice of recording excerpts from several operas in one session, are arranged by composer and title. It remains only to thank David

34

Page 3: THE WORLD'S GREATEST MUSIC AND WORLD'S GREATEST …arsc-audio.org/journals/v7/v07n1-2p33-55.pdfPublisher's Service Company and aggresively pro ... identities furnished by A.J. Franck

Hall, who provided the Franck/Hinton information, and to express my appreciation to Lois Fox and especially to Michelle Slater of RCA Records, who graciously gave me access to their department.

35

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