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I assume The Palmer House Ensemble is the group that played at the historic Palmer House hotel in Chicago. It is fine dinner music. So this disc is one of the first playlists! BTW, Palmer House is the birthplace of the brownie. I imagine many people ate there while enjoying the ensemble.

Bizarro! I'd love to see the ballet. Where did you find this one?

It was fun to find this gem in amongst the classical pieces!

Very interesting. Thanks for the opportunity to hear these gems.

Well that woke me up! Fantastic.

After attending a performance of Piazzolla's The Four Seasons of Buenos Aires, I thought I'd listen to Vivaldi's Four Seasons. I enjoy Baroque music now and then. This is a fine recording. But it makes me sad to think of how Cantelli's career was cut short. Thanks so much for posting this fine restoration.

Oh my! What a fearful night on bald mountain. Stokowski really whips it up, but he transitions so wonderfully to the morning. The restoration is stunning. Thanks for posting.

I had this on 78 and listed to it very often. You've done an excellent job!

WOW! The harpist is amazing. It's difficult to believe it was recorded more than 60 years ago. You did an amazing job bringing this recording back to life. Do you by any chance have a recording of La Damoiselle élue? That is another wonderful Debussy piece.

Amazing restoration of this classic performance. Thank you!

👍

We need a "face-off" between this and "Dance of the Seven Veils!" Good recording. Long time since I listened to this.

Superb, powerful, enjoyable.

Just getting around to really exploring your catalog, and am impressed with your work. Your guiding philosophy of leaving the original sound unaltered and unadulterated is admirable. I recently purchased a CD copy of Toscanini's studio recording of Dvorak's 9th from a Canadian company (HDTT). This was derived from a very high quality dub of an original RCA master tape. Your restoration of the Carnegie Hall performance is absolutely comparable in quality. Thank you for what you are doing!

Better than solti's. Might this be the reference recording? Heard that silvestri died too young. Seems so from just this one recording.

This sounds amazing! I must say it's such an under appreciated Symphony, so much I feel like doing one of the movements as a virtual project.

Marvelous! I haven't heard that piece in a very long time. The sound is quite good. I would never have guessed it was recorded in 1939.

just magnificent. Gorgeous woodwings. Hari

Magnífico.

Here is the output from ChatGPT (Chatty) for the translation. G: We are going to translate the "Immolation Scene" from Wagner's Gotterdammerung. I believe that Wagner wrote it in his idea of an "old-fashioned" German. C: That's an interesting project! Wagner indeed wrote his librettos in a poetic and archaic form of German that draws from medieval and early modern German sources. The "Immolation Scene" (or "Schlussgesang") from *Götterdämmerung*, the final opera in Wagner's *Der Ring des Nibelungen*, is a powerful and complex text. Brünnhilde's "Immolation Scene" uses elevated, poetic language that includes archaic words, phrases, and constructions to give it a timeless and mythic quality. Wagner's style is influenced by *Middle High German* epic poetry and other literary sources, so translating it requires careful attention to both the meaning and the poetic, elevated style. Would you like to go through the translation line-by-line or discuss specific passages? If you have a preferred approach for the translation, let me know! G: There are various translations available and all are quite different and I was wondering what you would come up with. I think it would be better that is in a more poetic style rather than a word-for-word translation. I will be giving you just sections of the libretto at a time and if I have questions I will let you know. C: That sounds like a great plan! I’d be happy to help with a more poetic translation of the libretto. Feel free to share the first section whenever you're ready, and we can start working through it together. ============== Starke Scheite… Stack the mighty logs… C: Here is a more poetic translation of the passage you've provided: I've aimed to capture the elevated, lyrical tone of Wagner's original while making it flow poetically in English. If you have any specific preferences or adjustments in mind, feel free to let me know! ============== Wie die Sonne lauter … Bright as the sun… This included the lines. Die Gattin trügend -treu dem Freunde- von der eig'nen Trauten - einzig ihm theuer schied er sich durch sein Schwert. Which Chatty translated as Deceiving his wife, Yet true to his friend, He parted from his dearest love, By his sword’s cruel end. C: I’ve aimed to preserve the contrast and intensity in Brünnhilde's reflection on Siegfried's actions and character. If there are any specific adjustments or if you'd like a different approach, let me know! G: I have a question about this translation. In the story Siegfried disguised by his magic helmet as Gunther goes to Brünnhilde's rock, and because I assume it is getting dark, he spends the night with his sword lying between him and Brünnhilde. I don't think what you provided conveys that properly. C: You’re right to point out this important detail. In the story, Siegfried uses the Tarnhelm to disguise himself as Gunther, and although he does spend the night with Brünnhilde, he lays his sword, *Nothung*, between them to symbolize that he has not touched her. This is a key element because it shows Siegfried’s fidelity to his marriage vows with Gutrune and his intention not to betray Brünnhilde beyond the deception itself. Let's refine the translation of that earlier passage to better convey this nuance: --- Deceiving his wife, Yet true to his friend, By his sword, he kept his distance, From the one he cherished most. --- C: I’ve modified the lines to include the detail of Siegfried's sword lying between him and Brünnhilde, indicating that while he deceived her by appearing as Gunther, he remained true to his loyalty by laying his sword between them, symbolizing a physical and moral separation. This adjustment should better reflect the complexity of Siegfried's actions and the layered nature of his betrayal. I hope this better reflects the nuance you're looking for! G: Yes, that’s perfect! C: I'm glad that worked well for you! It's such a powerful and nuanced moment in the text, and I'm happy we could capture it accurately. If you have any more questions or need further translations or clarifications, feel free to ask anytime. =========== O ihr, der Eide… Do you know how this came to be?… C: I aimed to convey the urgency and emotional weight in Brünnhilde’s address to the gods, keeping the archaic, almost accusatory tone. Let me know if you'd like any changes or if there's anything you'd like me to expand upon! G: This is sounding really good and much better than the translation that came with the record. C: I’m glad to hear that you're enjoying the translation! Capturing the depth and emotion of Wagner's text while maintaining a poetic flow is definitely a challenge, but it's a rewarding one. I'm excited to keep working on this with you! Feel free to share the next section whenever you're ready, and we'll continue bringing this powerful scene to life. ============ Weiss ich nun, was dir frommt?… Do I now know what you desire?-… C: I've focused on preserving the sense of revelation and liberation Brünnhilde experiences here, along with her command to Wotan's ravens and the sense of finality in her call for the god to rest. If there's anything specific you'd like adjusted, just let me know! ============== Mein Erbe nun… Now I claim my rightful inheritance... C: I’ve aimed to retain the solemnity and determination in Brünnhilde’s speech, capturing her final resolution to return the ring to the Rhinemaidens and purify its curse. If you have any suggestions or need adjustments, let me know! ================ Fliegt heim, ihr Raben!… Fly home, you ravens!… C: I’ve focused on capturing Brünnhilde’s commanding tone and the sense of an inevitable fate unfolding. If there’s anything specific you’d like to tweak or emphasize further, feel free to share! ==================== Grane, mein Ross,… Grane, my steed,… C: Here’s a poetic translation for this final, powerful section: I aimed to capture the deep emotion and imagery of Brünnhilde’s final farewell, blending her love, sacrifice, and the mythic grandeur of the scene. If there’s anything you’d like to refine or adjust, let me know! G: That was really fantastic! Thank you so very much. C: You're very welcome! I'm thrilled that you enjoyed the translation. It was a pleasure to help bring out the poetic depth and emotion of this iconic scene. If you ever have more sections to translate or any other projects, feel free to reach out. Happy translating, and thank you for this wonderful opportunity!

Stoki's interpretation of Vaughan Williams' sixth symphony remains one of the finest ever waxed to vinyl. Masterful interpretation and my favorite recording of this work.

Outstanding. Thanks, Glen.

I remembered playing this piece when I was in All State Honors Orchestra as a 2nd Violinist! Oh, I totally forgot to request this, but, since you uploaded 3 Hour of Charm Recordings, I please like to request for you to restore their recording of “Seville”, also known as Rossini’s Barber of Seville selection/excerpt from the Overture.

Very interesting. That said, per other commenters? The best I've heard up to this point, typing as I listen? Not someone you'd think of. It was Gardiner with the NDR Elbphilharmonie Orchester. Very rhythmic final movement, emphasizing the "dances" of the title. Very interesting side note? That version and this clock almost to the second on total time. Kondrashin is a bit faster on the 1st mvmt, bit slower on the second, and they're very close on the 3rd.

Actually, since all of the members of the orchestra are singing, this is considered the "All Girl Choir", not Orchestra. lol But in all seriousness, I like how they make their unique arrangements of popular/classical music as a 50 piece orchestra and choir! I didn't know that this was a different version of Blue Skies they recorded, cause the one I heard many times was the one that had Rhapsody in Blue Part 2 on the other side of that disc. I guess this prooves this take is a lot better.

Fabulous transfer of a great performance I'd never heard before today. And the Symphony Hall acoustics come through beautifully. Thanks so much, Glen!

Great restoration! I have a request. Could you please perhaps restore the entire Portsmouth Sinfonia's Discography of 3 of their albums and their single? A lot of the recordings I heard from the Portsmouth Sinfonia had the interrupted Vinyl Crackles, Scratches, and Clipping.

Koussevitzky Isn't particularly remembered today for his Beethoven as much as he is for his Tchaikovsky and Sibelius, for example, but I really like this one Great job restoring it, Glen!

What a wonderful recording. Thanks for posting.

Thanks! Glad you’re putting up Herrmann’s classical records!

Thanks for the memories, Glen. I'm old enough to remember most of these shows.

#12, "Dream of Olwen" by Charles Williams has to be about the most gorgeous heart-tugging melody ever composed. Nobody could create these heavenly tunes as well as 20th-century English composers did. Also count Richard Addinsel (Warsaw Concerto) and Amy Woodforde-Finden (Kashmiri Song) in that number.

#9 is based on Edvard Grieg's "The Last Spring". I'm 79, Glen, and I remember these old TV shows from the 1950s & early 1960s. This takes me back to the wonders and delights of my childhood and the relative innocence and gentility that America once had. I write this with pooling eyes. This is beautiful stuff, Glen. Thank you, my friend.

Thank you Beautiful

THX so much for uploading.For me is Flagtad the greatst Soprano ever, more than outstanding! P.S.I am German

Lovely stuff…great listening

1) "The Coca-Cola Waltz" was not only featured on "COKE TIME WITH EDDIE FISHER", it was their musical signature on radio and TV (and drive-in snipes) for over 25 years. 5) This was Lucy's *sponsor's* theme, from 1951 through '55 {"CALL FOR PHIL-IP MOR-AISSSSSS!!!!!!!!!"}. It was Philip Morris' muscial signature on TV and radio for over 25 years. 7) This was mostly heard on Perry Como's radio and TV shows from 1944 through 1955, especially during his "CHESTERFIELD SUPPER CLUB" days (1944-'50). 10) It was also heard on "GOODYEAR TELEVISION PLAYHOUSE" {same producer) on alternate weeks (1951-'55).

This was the original cover. A second (1956) pressing featured some very sexy "backstage" showgirls in fishnet, in front of an NBC color camera.

It is late in the evening. You've poured yourself a little something. A Mahler symphony? I don't think so. Boy, have I got the perfect album for you!

If I knew I had minutes to live I want this particular version of Neptune to be played.

Bernard Hermann wrote lots of movie music, especially for some weird films featuring mythical creatures. When I worked at KLEF-FM (classical) in Houston in the 1960s and 1970s we played vinyl discs back then, and I remember one Bernard Hermann album of many of his film scores. On the front cover was a picture of a Greek sailing ship entering a primitive harbor with strange-looking creatures in the water all around it. We had an announcer at the station named Rick Veit who had a wild sense of humor. He taped a caption balloon over that picture that pointed down to that ship and he wrote on it "This doesn't look like Boston to me!" Rick had a comic genius for doing those, and our "record" library was loaded with them. Some things you never forget.

The opening to this piece sounds so very much like the opening measures of Franck's symphony in D-minor. They are both sublime! Thanks for this offering, Glen. I like the tempo here. He doesn't rush it. It's getting the poetic reading it deserves. I played this with the Fort Smith (Arkansas) Symphony Orchestra very many years ago when I was still young and strong. Those days are passed now, but I still have the memories.

Thank you. I've been waiting a long time to hear this version conducted by my favorite film composer again.

Sounds crystal clear and majestic, as usual.👏

Wow! Haven't listened to this recording in over 50 years and I certainly didn't appreciate it as much the first time around as I do now. Thanks so much for this, Glen.

Spooky as hell! And a real sonic treat. Thanks, Glen.

Sounds great. Thanks, Glen.

A good, quick Khachaturian fix for his fans, like me. Thanks, Glen.

Lovely restoration with wonderful images. Thank you!

This ballet suite is one of my earliest acquaintances with classical music as a young boy. Mom and Dad and everyone else in my large extended family listened to Roy Acuff and Slim Whitman and Little Jimmy Dickens wailing nasally about their lost loves, but I always hungered for the classics, and this is one of the first! ☺