{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/gf0ms3ms60/manifest","type":"Manifest","label":{"en":["The Columbia Recordings of Fritz Reiner and the Pittsburgh Symphony Orchestra, 1940-1947"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","metadata":[{"label":{"en":["Agent"]},"value":{"en":["Dennis D. Rooney (Presenter)","Leah Biel (Videographer)"]}},{"label":{"en":["Date"]},"value":{"en":["2015-04-16 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Video"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eFrom January 1940 to November 1947, Columbia recorded the Pittsburgh Symphony Orchestra. The sessions in Pittsburgh, first in Carnegie Music Hall and then in Syria Mosque, were interrupted for nearly three years by the “Petrillo Ban” (1942-44), which coincided with an orchestra shorn of some of its best players due to wartime military service. Recordings resumed in early 1945, and continued at regular intervals each season thereafter. The final Reiner/PSO recording, Strauß’s Ein Heldenleben, like all of its predecessors, was mastered on 16.5-in. lacquer discs rotating at 33-1/3 rpm, the same speed as the Columbia Lp, which was launched only a few months later. By that time, Reiner had departed Pittsburgh for the Metropolitan Opera in New York. These Pittsburgh Symphony recordings were the first made under his own name by Reiner (1888-1963) who rebuilt the orchestra after his arrival in 1938 from the Curtis Institute in Philadelphia. Building on the reorganizing work of his predecessor, Otto Klemperer, Reiner profited from the availability of many émigré players fleeing war and fascism, enabling him to quickly improve the orchestra’s personnel. This program will be part of a survey of all the Pittsburgh Symphony recordings to be presented at ARSC’s National Conference in Pittsburgh in late May, This evening’s program will offer an expanded sampling of the PSO Columbias in the best sounding available source: original 78 rpm shellac, LP reissues and Masterworks Heritage CD reissues, the latter produced directly from the original lacquer masters.\u003c/p\u003e\r\n\u003cp\u003eDennis Rooney’s collecting career began when Harry Truman was in the White House. His interest in recordings followed him through subsequent careers in broadcasting, writing and audio production. He produced many reissues for Sony Classical, the most significant of which was the award-winning Masterworks Heritage Line. As a producer and consultant to the record industry, he has contributed to many important CD reissues of historic recordings. As a member of ARSC, he has been a frequent presenter at conferences and workshops, is Classical Music Judge of the Book Awards Panel, a member of the Technical Committee since 1996, the Steering Committee of ARSC’s New York chapter since 2008, and reviews books and recordings for the ARSC Journal. He regularly contributes features and reviews to THE STRAD and is an occasional contributor to BBC Music Magazine, Classic Record Collector, American Record Guide and MusicalAmerica.com.\u003c/p\u003e"]}},{"label":{"en":["Publisher"]},"value":{"en":["Association for Recorded Sound Collections"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}}],"summary":{"en":["\u003cp\u003eFrom January 1940 to November 1947, Columbia recorded the Pittsburgh Symphony Orchestra. The sessions in Pittsburgh, first in Carnegie Music Hall and then in Syria Mosque, were interrupted for nearly three years by the \u0026ldquo;Petrillo Ban\u0026rdquo; (1942-44), which coincided with an orchestra shorn of some of its best players due to wartime military service. Recordings resumed in early 1945, and continued at regular intervals each season thereafter. The final Reiner/PSO recording, Strau\u0026szlig;\u0026rsquo;s Ein Heldenleben, like all of its predecessors, was mastered on 16.5-in. lacquer discs rotating at 33-1/3 rpm, the same speed as the Columbia Lp, which was launched only a few months later. By that time, Reiner had departed Pittsburgh for the Metropolitan Opera in New York. These Pittsburgh Symphony recordings were the first made under his own name by Reiner (1888-1963) who rebuilt the orchestra after his arrival in 1938 from the Curtis Institute in Philadelphia. Building on the reorganizing work of his predecessor, Otto Klemperer, Reiner profited from the availability of many émigré players fleeing war and fascism, enabling him to quickly improve the orchestra\u0026rsquo;s personnel. This program will be part of a survey of all the Pittsburgh Symphony recordings to be presented at ARSC\u0026rsquo;s National Conference in Pittsburgh in late May, This evening\u0026rsquo;s program will offer an expanded sampling of the PSO Columbias in the best sounding available source: original 78 rpm shellac, LP reissues and Masterworks Heritage CD reissues, the latter produced directly from the original lacquer masters.\u003c/p\u003e\r\n\u003cp\u003eDennis Rooney\u0026rsquo;s collecting career began when Harry Truman was in the White House. His interest in recordings followed him through subsequent careers in broadcasting, writing and audio production. He produced many reissues for Sony Classical, the most significant of which was the award-winning Masterworks Heritage Line. As a producer and consultant to the record industry, he has contributed to many important CD reissues of historic recordings. As a member of ARSC, he has been a frequent presenter at conferences and workshops, is Classical Music Judge of the Book Awards Panel, a member of the Technical Committee since 1996, the Steering Committee of ARSC\u0026rsquo;s New York chapter since 2008, and reviews books and recordings for the ARSC Journal. He regularly contributes features and reviews to THE STRAD and is an occasional contributor to BBC Music Magazine, Classic Record Collector, American Record Guide and MusicalAmerica.com.\u003c/p\u003e"]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}},"provider":[{"id":"https://arsc.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Association for Recorded Sound Collections"]},"homepage":[{"id":"https://arsc.aviaryplatform.com/","type":"Text","label":{"en":["Association for Recorded Sound Collections"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/257/097/small/ARSCNY_20150416_Rooney.mp4_1732496398.jpg?1732496399","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/2105/collection_resources/138696/file/257097","type":"Canvas","label":{"en":["Media File 1 of 1 - ARSCNY_20150416_Rooney.mp4"]},"duration":7187.2261,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/257/097/small/ARSCNY_20150416_Rooney.mp4_1732496398.jpg?1732496399","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/2105/collection_resources/138696/file/257097/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/2105/collection_resources/138696/file/257097/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/257/097/original/ARSCNY_20150416_Rooney.mp4?1732496397","type":"Video","format":"video/mp4","duration":7187.2261,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/2105/collection_resources/138696/file/257097","metadata":[]}]}],"annotations":[]}]}