Professional Documents
Culture Documents
Evgeni Mravinsky Discography: Evgeni Alexandrovich Mravinsky (1903 I 6 I 4 St. Petersburg - 1988I1I19 Leningrad)
Evgeni Mravinsky Discography: Evgeni Alexandrovich Mravinsky (1903 I 6 I 4 St. Petersburg - 1988I1I19 Leningrad)
General Notes
1. All records are stereo unless noted as Grammophon's original Tchaikovsky
monaural. Symphonies. See the List of Record Labels
2. LPs are 30 centimeters (12 inches) in diam- below.
eter unless stated otherwise. 9. This discography is a revision ofKenzo
3. The orchestra is the Leningrad Amoh, Frank Forman, and Hiroshi
Philharmonic Symphony Orchestra unless Hashizume, Mravinsky Discography
stated otherwise. (Osaka: The Japanese Mravinsky Society,
4. Recording data are mostly based on infor- 1993 March 20). Agreat deal of peripheral
mation from Alexandr Nevsorov (Moscow). material, such as photographs, a biography
Discrepancies are noted. of the conductor, and several lists of con-
5. ·~ before a recording date means that the certs, was omitted.
exact date is unknown. The date given is 10. Grateful acknowledgements are owed to
the earliest date that recording engineers several people: 1. Hiroshi Hashizume, sec-
were known to have checked the recording. retary of the Japanese Mravinsky Society;
Alexandr Nevzorov (the discographers' cor- 2. Alexandr Nevzorov, a Russian correspon-
respondent in Moscow) estimates that the dent, for his research in various archives;
actual recording was made either on that 3. William D. Curtis, for the first known
day or any time during the preceding compilation ofMravinsky's recordings; 4.
month. Some anomalies, like the Donald R. Hodgman, a collector in New
Ovsyaniko-Kulikovksy Symphony, remain. York City, for the loan of several dozen LPs;
6. Soviet LPs are numbered consecutively on 5. Paul Miller, a Los Angeles collector, for
each side of the disc, instead of one number making a great many patient A-B compar-
for the entire disc. In this discography, the isons of recordings using variable speed
disc number of each side is shown where tape recorders; 6. Alexandra Vavilina
known. Mravinskaya (the conductor's widow), for
7. Issue dates of Soviet records are mostly her encouragement and support and for
based upon a table in Bennett's discogra- writing a foreword to the original discogra-
phy, if not otherwise attested on the disc or phy); and (7-10) to the following for proof-
record jacket. reading the discography, discovering in the
8. Records are listed in sequence of countries process any number of errors, questionable
of manufacture as follows: USSR (later, claims, stupidities, and infelicities: Sarah
Russia), Japan, USA, Germany (West and Banks Forman (Mrs. Frank Forman), J.F.
East), England, France, Italy, and then the Weber, Michael H. Gray, and Katsushi
others. An exception is made for Deutsche Watanabe.
Evgeni Mravinsky' Discography 13
CD JVC VDC 25031 (1989), "The Art of Artists FED 043.44 claims to have been
Mravinsky" recorded in Leningrad.
CD JVC VICC 40141 (1993), 9 disc set,
"The Art of Maestro Mravinsky" OVSYANIKO-KULIKOVSKY NIKOLAI
CD Erato (France) 2292-45758-2 (1992) DMITRIEVITCH (1768-1846)
CD lnta'glio (Italy) INCD 7321 (1992) Symphony No. 5 for other Bergen recordings.
Inta'glio INCD 7321 claims to come from a 1973/6/29 Leningrad Philharmonic
1971 live performance at the Royal Albert Large Hall. Live
Hall in London, but Paul Miller confirmed CD Russian Disc (forthcoming, 1994)
that it is identical with Hunt HUNTCD 713. 1981/12/30 Leningrad Philharmonic
1974/9/8 Leningrad Philharmonic Large Hall. Live
Large Hall. Live. Monaural No. 11 omitted
CD JVC VICC 40148 (1993), bonus disc LP Melodiya ClO 23720 (1986)
in 9 disc set, "The Art of Maestro CD JVC VDC 1217 (1987)
Mravinsky" CT Philips (Netherlands) 420483-1 PH
198216/3 Vienna. Grosser (1987)
Musikyereinssaal. Live LP Philips (Netherlands) 420483-4 PH
CT Not issued, private recording (NHK (1987)
FM broadcast on 1982/11/18, from CD Philips (Netherlands) 420483-2 PH
tape furnished by the Austrian (1987)
(National) Broadcasting Corporation) CT Linfair (Taiwan) 13015 (1989)
JVC VDC 1217 incorrectly dated
Romeo and Juliet, Suite No. 2, 1981I12 I 31.
Op. 64c (1936) Philips 420483-4PH incorrectly dated
8. The Montagues and the Capulets, 9. 1981I12/ 12.
Juliet-the little girl, 10. Friar Laurence, 11. 198216/3 Vienna. Grosser
Dance, 12. Romeo and Juliet before parting, Musikvereinssaal.Live
13. Dance of the maids from the Antilles, No. 11 omitted
14. Romeo at Juliet's grave. CT Not issued, private recording (NHK
1952/3/24. Studio. Monaural FM broadcast on 1982/11118, from
78 Old Melodiya 22455/67, 13 sides, tape furnished by the Austrian
25cm, WERM 3-351 (National) Broadcasting Corporation)
LP Old Melodiya A 522/3 (1952), 25cm,
B-427, WERM 3-351 RAVEL, (JOSEPH) MAURICE (1875-1937)
LP Shinsekai PLS 38 (1958)
LP Shinsekai PX 5508 (1961), No. 12 only Bolero (1928)
LP Shinsekai PX 8552 (1965) 1952/12/30 Moscow. Studio. Monaural
LP Shinsekai MK 1076 (1975) 78 Old Melodiya 022864/7, 4 sides,
CD JVC VICC 2126 (1993) WERM3-371
LP Vanguard (USA) VRS 6004 (1953), LP Old Melodiya A 01503 (1953), B-465,
WERM2-167 WERM3-371
LP Monarch (USA) MEL 701 (1954), LP Old Melodiya A 9703 (1962), 25cm,
25cm, WERM 3-351 B-465
LP Stradivari (USA) STR 623 (1955), LP Shinsekai MK 1079 (1975)
WERM3-351 CD JVC VICC 2127 (1993)
LP Le Chant du Monde (France) LDXA 8073 CD Multisonic (Czech Republic) 31 0178-2
1961/8/14 Festival in Bergen. Live. (1993)
Monaural
CD Hunt (Italy) HUNTCD 713 (1990) RIMSKY-KORSAKOV, NIKOLAI ANDREYE-
CD Arkadia (Italy) CDGI 713.1 VICH (1844-1908)
The dates of the concerts of the Festival in
Bergen in 1961, June 24 and August 14, are (The) Legend of the Invisible City of
dubious. Either may be incorrect. See Kitezh and the Maiden Fevronia
Beethoven: Symphony 3, Mozart: Marriage (1907): Suite from the Opera
of Figaro Overture, and Tchaikovsky: 1949 Moscow. Studio. Monaural
Evgeni Mravinsky Discography 23
SCRIABIN, ALEXANDER NIKOLAIEVICH that Old Melodiya A 02283 I 4 and JVC VDC
(1872-1915) 25004 (which gives a recording date of 1954)
are identical. Accordingly, the discographers
Le Poeme de l'extase (Symphony No. assign all these issues to 1954.
4), Op. 54 (1908) 1966 Leningrad Philharmonic Large
1958/12/22 Moscow. Studio. Monaural Hall. Live
LP Old Melodiya A 04942 (1959), B-537 CD Russian Disc RDCD 11023 (1993),
LP Shinsekai SMK 7596 (1970) "Mravinsky Live"
LP Shinsekai MK 1032 (1973) 1966. Part of finale of 4th movement
LP JVC VIC 5080 (1977) only
LP JVC VICX 1007 (1979), 10 disc set, LD Toei (Japan) LSZ SOOl 72 (1989),
"The Art of Mravinsky" Monochrome, Monaural, Documentary
CD JVC VDC 25004 (1988) film, "Dmitri Shostakovich"
CD Multisonic (Czech Republic) 31 0178-2 The discographers do not know whether the
(1993) two 1966 recordings are distinct.
1968/5 Spring Festival in Prague.
SHOSTAKOVICH, DMITRI DMITRIEVICH Live. Monaural
(1906-1975) CD Hunt (Italy) 2 HUNTCD 714 (1990),
2 disc set
Symphony No. 5 in d minor, Op. 47 CD Arkadia (Italy) CGDI 714.2, 2 disc set
(1937) 1973/5/26 Tokyo Bunkakaikan Large
World premiere by Mravinsky I Leningrad Hall. Live. Monaural
Philharmonic on 1937 I 11I21 CT Not issued, private recording (NHK
1938/3/27. Studio. Monaural FM broadcast on 1973/6/23)
78 Old Melodiya 06820/33, 14 sides, Not issued (NHK TV broadcast on
WERM 1-559 1973/5/31), Color
<1954/7/9 Moscow. Studio. Monaural 1973/6/29 Leningrad Philharmonic
LP Old Melodiya A 02283/4 (1954), Large Hall. Live
B-560, WERM 3-426 CD Russian Disc (forthcoming, 1994)
LP Shinsekai LS 4 (1956) 1978/6/13 Vienna. Grosser
LP Shinsekai PX 5501 (1961) Musikyereinssaal. Live
LP Shinsekai PX 8539 (1964) LP Melodiya ClO 15321/2 (1981)
LP Shinsekai SH 7583 (1965), LP JVC VIC 2324 (1981), 4 disc set,
Electronic simulated stereo "Mravinsky in Vienna"
LP Shinsekai SMK 7592 (1970), LP JVC VIC 28017 (1981)
Electronic simulated stereo CT JVC VCC 10006
LP Shinsekai MK 1022 (1973) CD JVC VDC 1007 (1985)
LP JVC VIC 5075 (1977) CD JVC VICC 40118 (1992), 6 disc set,
LP JVC VICX 1006 (1979), 10 disc set, "Shostakovich: The Selected
"The Art of Mravinsky" Symphonies"
CD JVC VDC 25004 (1988) LP Ariola (Germany) 300666 in 300668-
LP Vanguard (USA) VRS 6025 (1956) 400 (1980), 4 disc set, "Wiener
LP Ariola (Germany) 89519XDK (1976) Festwochen"
Hulme claims that Old Melodiya A CD Ariola (Germany) 880028-910
02283 I 4, JVC VDC 25004, and Vanguard LP EMI (England) SLS 5212, 4 disc set,
VRS 6025 were reissues of the 78 rpm set, "Mravinsky in Vienna"
which he further claims was recorded in 1982/11/18 Grand Hall of the Moscow
1938 April, not March. (WERM 3-426 also Conservatory. Live
states that Old Melodiya A 02283 I 4 is a Not issued (Classic 7, Satellite Radio,
reissue.) Paul Miller, however, has verified Japan broadcast on 1992112/27)
Evgeni Mravinsky Discography 25
l
CD Melodiya MCD 223 . (1988), CD JVC VICC 2127 (1993)
"Mravinsky Legacy," Vol. 4 CD Olympia (England) OCD 224 (1988),
CD Melodiya MCD 5002, 6 disc set, "Mravinsky Legacy," Vol. 5
"Mravinsky Legacy'' CD Olympia (England) OCD 5002, 6 disc
LP Shinsekai SMK 7712 (1972) set, "Mravinsky Legacy"
LP Shinsekai MKX 2010 (1975) Olympia OCD 224 incorrectly dated 1968.
LP JVC VIC 5067 (1977)
LP JVC VIC 9544 (1985) Apollon musagete, Music of the
CD JVC VDC 1115 (1986) Ballet (1928, revised as Apollo in
CD JVC VICC 2031 (f990) 1947)
LP Ariola (Germany) 80588XAK (1976) Premiere in the USSR by Mravinsky I
LP Ariola (Germany)·Slii851XBK Leningrad Philharmonic on 1964 I 10 I 24
CT Ariola (Germany)·8t!l851XCK (1976) 1965/2126 Grand Hall of the Moscow
CT Ariola (Germany) VS 122K (1976) Conservatory. Live
LP H.M.V. (England) ASD 2805 Violin solo: Ilya Shpilberg
CD Olympia (England) OCD 223 (1988), LP Melodiya CM 02856 (1971), B-588
"Mravinsky Legacy," Vol. 4 CT Melodiya CM 01488 (1986)
CD Olympia (England) OCD 5002, 6 disc LP Melodiya ClO 2855 (1991)
set, "Mravinsky Legacy'' LP Shinsekai SMK 7713 (1972)
LP Shinsekai MKX 2009 (1975)
STRAUSS, RICHARD [GEORG] (1864-1949) LP JVC VIC 5069 (1977)
CD JVC VDC 1118 (1986)
Eine Alpensinfonie, Op. 64 (1915) CD JVC VICC 2034 (1990)
1962/4/21 Leningrad Philharmonic LP Angel (USA) SR 40402 (1972)
Large Hall. Live LP Ariola (Germany) 85193KK
LP Melodiya ClO 17781/2 (1982), 2 disc
set (The) Fairy's Kiss (1928)
CD Melodiya MCD 222 (1988), 1983 Leningrad Philharmonic Large
"Mravinsky Legacy," i , Vol. 3 Hall. Live. Monaural
CD Melodiya MCD 5002, 6 disc set, CD Russian Disc 11160 (1993),
"Mravinsky Legacy'' "Mravinsky Live"
LP JVC VIC 4512 (1982}, Disc claims
monaural but is in fact ·stereo Petrouchka (1911): Orchestral Suite
CD Olympia (England) OCD 222 (1988), 1946 Moscow. Studio. Monaural
"Mravinsky Legacy," Vol. 3 CD Multisonic (Czech Republic) 31 0189-2
CD Olympia (England) OCD 5002, 6 disc (1993)
set, "Mravinsky Legacy"
TCHAIKOVSKY, PIOTR IL'YICH (1840-
STRAVINSKY, IGOR FEODOROVICH (1882· 1893)
1971)
Symphony No. 4 inf minor, Op. 36
Agon-Ballet (1957) (1878)
Premiere in the USSR by Mravinsky I <1957/5/17. Monaural
Leningrad Philharmonic on 1965/ 10/29 LP Old Melodiya ~ 04098/9 (1957),
1965/10/29 or 30. Live Monaural B-606
LP Melodiya MlO 43989/90 (1982) LP Shinsekai PLS 40 (1958)
CD Melodiya MCD 224 (1988), LP Shinsekai PH 45 (1960), 25cm
"Mravinsky Legacy," Vol. 5 LP Shinsekai MK 1018 (1973)
CD Melodiya MCD 5002, 6 disc set, LP JVC VIC 5071 (1977)
"Mravinsky Legacy'' LP JVC VICX 1001 (1979), 10 disc set,
30 ARSC Journal
Lohengrin: Prelude to Act 1 (1847) CD JVC VDC 25031 (1989), ''The Art of
1967/1/31 Leningrad Philharmonic Mravinsky"
Large Hall. Live CD JVC VICC 40147 (1993), 9 disc set,
CD Russian Disc RDCD 11166 (1993), "The Art of Maestro Mravinsky"
"Mravinsky Live" CD Erato (France) 2292-45762-2 (1992)
1973/3/11 Leningrad Philharmonic
Large Hall. Live Die Meistersinger von Niirnberg:
CD JVC VDC 25029 (1989), "The Art of Prelude to Act 1 (1867)
Mravinsky" 1967/1/31 Leningrad Philharmonic
CD JVC VICC 40147 (1993), 9 disc set, Large Hall. Live
"The Art of Maestro Mravinsky" CD Russian Disc RDCD 11166 (1993),
CD Erato (France) 2292-45762-2 (1992) "Mravinsky Live"
1978/3/30 or 31 Leningrad 1982/1/31 Leningrad Philharmonic
Philharmonic Large Hall. Live Large Hall. Live
LP Melodiya ClO 17646 (1983), 2 disc LP Melodiya ClO 22372 (1985)
set LP JVC VIC 28231 (1982)
LP JVC VIC 9043/4 (1982), 2 disc set CD JVC VDC 1141 (1986)
LP JVC VIC 9519 (1982) CT Linfair (Taiwan) 13008 (1988)
JVC VIC 9043 / 4 incorrectly dated 1980 / 1. JVC VIC 28231 and VDC 1141 incorrectly
Melodiya CJO 17646 dated 1978/3/30. dated 1978 / 4 / 29.
It was premiered in Odessa and Kiev in 1949, phonic works or that this figure has some other,
published in 1951 by the [Soviet] State Music yet unknown meaning? This problem is being
Publishers, hastily recorded by Mravinsky for given the necessary attention and will probably
Melodiya, and made the subject of at least two be solved. But the music of the symphony tells
dissertations by Soviet musicologists. us a lot.
The hoax was finally revealed when one of "It is obvious that the author is a master,
the musicologists, Taranov, asked to examine the possessing a free style of music writing. Methods
manuscript. (Likewise, Casadesus was unable to of development of the material tell us of great
produce manuscripts for his own fake antiques, influence of the symphonic style of the Viennese
which also included viola concerti by J.C. Bach, classics and that the author had been thorough-
Handel, and Hummel.) Taranov was asked to ly acquainted with or even studied under some
give his opinion: he concluded the symphony was of the Viennese musicians. At the same time it is
written neither by Ovsyaniko-Kulikovsky nor quite obvious that in his symphony the composer
Goldstein! Goldstein was branded a liar, an does not simply aim at imitating the great mas-
opportunist, and a traitor to Russian culture for terpieces of Mozart and Haydn but to transplant
making the outrageous and self-seeking claim their creative gains onto his native soil and to
that he had written the symphony. inspire the music of his symphony with the poet-
Goldstein himself emigrated to East ry of Ukrainian folk melody.
Germany in 1964, leaving this madness behind "Themes of the First Movement are very
him. He worked as a musicologist in East Berlin close to Ukrainian folksongs. It begins with a
and Israel in 1967 and later taught at the lyrical, soft introduction of a sincere character
Menuhin Music School in England and the (Adagio), which is followed by a buoyant Allegro,
Musashino Academia Musicae in Tokyo. He which is full of motion.
finally settled in Hamburg in 1969 and joined "The Second Movement (Adagio) bears the
the faculty of the Hochschule fur Musik and the name 'Romance' and is melodiously close to
editorial staff of Reimann's Musik Lexikon. works of this type, which are very common and
[Compiled from Allan Ho & Dmitry Feofanov, loved in the Ukraine. As in many Ukrainian bal-
Biographical Dictionary of Russian I Soviet lads, you can hear in this movement the tunes of
Composers (Westport, Connecticut: Greenwood lyrical folksongs.
Press, 1989), pp. 182-3, and David Mason "The Third Movement-Minuet CAllegro)-
Greene, Greene's Biographical Encyclopedia of also possesses the features of simplicity, noble-
Composers (Garden City, New York: Doubleday ness, and soft humor that connect this classical
& Co., 1985), p. 488.J form with Ukrainian folk music. In the trio of
The English version of the trilingual text of the minuet, the author makes use of a
the Melodiya 1956 reissue, fl 2954-5 (the origi- genuine Ukrainian folk song, 'Oh, at the Hill, at
nal 1952 issue was on fl 851/2), reads as follows the Ferry.'
(grammar corrected): "The most vivid, as far as national coloring
"The fate of this composition is unusual in is concerned, is the Finale (Presto), with its bril-
the full sense of the word. Premiered in Odessa liant Cossack national dance, which is full of
in 1809 on the day when the town theater was gaiety. Before the listener pass dances of young
opened, the composition vanished, leaving no lads, swift as a whirlwind, and which give place
trace, and was found only 140 years later. It was to graceful and swimming dances of girls. It is as
again successfully performed at a concert in Kiev. if the composer were painting a colorful picture
"It was ascertained that N.D. Ovsyaniko- of the life of his people.
Kulikovsky (1768-1846), a native ofKherson "The symphony as a whole gives a true pic-
province, was the author of the symphony. But ture of the peculiarities of the Ukrainian charac-
this supposition still needs confirmation. The ter: deep lyricism and meditation, soft humor,
meaning of the figure "21" which the score bears and boisterous manifestations of energy and
is so far also not clear. Does it mean that the merriment.
composer had created more than twenty sym- "The symphony was published in 1951 by
Evgeni Mravinsky Discography 43
the State Music Publishers. It has been edited man, thinking of his wife, has to assume that she
for the modern symphony orchestra by A.G. is beautiful and amiable, else despair will seize
Svechnikov." him and he will be unable to think at all. Every
Although the hoax was revealed over thirty American, contemplating Dr. Coolidge [then
years ago, the work is still regarded as genuine President of the United States), is physically
in some references. The New Groue Dictionary of bound to admire him: the alternative is anarchy.
Music and Musicians (1980), for example, states Every Christian, viewing the clergy, is forced into
in its article on Ukrainian music: bold theorizing to save himselffrom Darwinism.
"A number of outstanding composers were And all of us, taking stock of ourselves, must
active [in Ukraine) in the 19th century, includ- resort to hypothesis to escape the river.
ing Nykolay Ovsyaniko-Kulikovsky, whose "What ails the truth is that it is mainly
Symphony No. 21 was discovered in manuscript uncomfortable, and often dull. The human mind
in the Odessa archives in 1949 by the violinist seeks something more amusing, and more
Goldstein. The symphony shows advanced com- caressing. What the actual history of the bath-
positional techniques; structurally it closely tub may be I don't know: digging it out would be
resembles Haydn, although it is based on a dreadful job, and the result, after all that
Ukrainian folk themes. It was given premiere in labor, would probably be a string of banalities.
1809 at the inauguration of the Odessa theater" The fiction I concocted back in 1917 was at least
(Vol. 19, p. 407). better than that. It lacked sense, but it was cer-
I doubt the error will ever go away entirely. tainly not without a certain charm. There were
In 1917 H.L. Mencken published "A Neglected heroes in it, and villains. It revealed a conflict,
Anniversary," which he had thought was an with virtue winning. So it was embraced by
obviously false history of the use of the bathtub mankind, precisely as the story of George
in America. Later he wrote: Washington and the cherry tree was embraced,
"I had confidence that the customers at the and it will live, I daresay, until it is displaced by
[New York) Euening Mail would like it. Alas they something worse - and hence better" (The
liked it only too well. That is to say, they swal- Chicago Sunday Tribune, 192617/25).
lowed it as gospel, gravely and horribly. Worse, As late as 1948, Mencken noted that,
they began sending clippings of it to friends "scarcely a month goes by that I do not find the
east, west, north, and south, and so it spread to substance of it reprinted, not as foolishness but
other papers, and then to the magazines and as fact, and not only in newspapers but in offi-
weeklies of opinion, and then to the scientific cial documents and other works of the highest
press, and finally to the reference books. Th this pretensions." I myselflast spotted the bathtub
day it is in circulation, and, as I say, has broken hoax passed off as serious history in late 1991.
into the reference books, and is there embalmed The 1956 Westminster issue of the ostensi-
for the instruction and edification of posterity.... ble Ovsyaniko-Kulikovsky symphony did not
"My point is that, despite all this extrava- expose its authorship, but that was during the
gant frenzy for the truth, there is something in days when even mild criticism of the Soviets
the human mind that turns instinctively to fic- could result in the withdrawal of future licens-
tion ... .It is a sheer impossibility for human ing arrangements with Melodiya. So American
beings to think exclusively in terms of the truth. record companies, wishing to continue using
For one thing, the stock of indubitable truths is Soviet material, had to be very careful.
too scanty. For another thing, there is the aver- Likewise, when Yehudi Menuhin recorded
sion to them that I have mentioned. All of our the Adelaide Concerto, with Pierre Monteux
thinking is in terms of assumptions, many of and the Paris Symphony about 1938, the notes
them plainly not true. Into our most solemn and said only that the work was orchestrated by
serious reflections fictions enter - and three Marius Casadesus. Menuhin, who was about
times out of four they quickly crowd out all the nineteen years old at the time of the recording,
facts." must have felt proud at being given the honor of
"That this is true needs no argument. Every making the first recording of the work. When
44 ARSC Journal
Menuhin rerecorded the work for EMI about Being nice to Menuhin by not embarrass-
1976, the liner notes were also kind to him and ing him is one thing, but the sheer sycophancy of
noted merely: many liner notes of Western releases of Soviet
"Mozart is said to have composed his recordings is another matter entirely. These
Concerto in D ('Adelafde'), K.Anh. 249a, in 1766, notes often scrupulously followed whatever was
at the age of ten for the royal violinist Madame then the current Soviet propaganda line.
Adelaide of France, eldest daughter of King Finding out when the Soviets first dropped
Louis XV: The young musician wrote the piece, Ovsyaniko-Kulikovsky from their roster of com-
destined for a 'petit violon,' or 'violon de dame,' posers would truly be "a dreadful job." Perhaps
as a simple sketch on only two staves, the upper he is still in certain Soviet reference works.
b~ing devoted to the solo part and the tutti, Mencken again: he wrote an expose of his bath-
while the lower accommodated the bass part. tub hoax, which was printed in several newspa-
The score, traced to a private collector in France, pers, including the Boston Herald. "And then on
was edited for publication by Marius Casadesus; June 13, three weeks later, in the same editorial
cadenzas, brilliant but somewhat unidiomatic, section but promoted to page 1, this same
were provided by Paul Hindemith. The composi- Herald reprinted my 10 year old fake - soberly
tion is fluent and graceful; its charms are real and as a piece of news!"
and beguiling."