Photos from the Victor monthly supplements, courtesy of
John Bolig .
GEORGE M. COHAN: You Won’t Do Any Business If You Haven’t Got a Band (“A Little of Everything”)
Camden, NJ: May 4, 1911
Victor 60043 (mx. B 10268 – 1) With studio orchestra (conductor not credited in the Victor files)
NORA BAYES & JACK NORWORTH: Turn Off Your Light, Mr. Moon Man (“Little Miss Fix-It”)
Camden, NJ: April 24, 1911
Victor 70038 (mx. 9830 – 5) With studio orchestra (conductor not credited in the Victor files)
AL JOLSON: That Haunting Melody (“Vera Violetta”)
Camden, NJ: December 22, 1911
Victor 17037 (mx. B 11409 – 2) With studio orchestra conducted by Walter B. Rogers. Although Rogers is not credited in the Victor files, Jolson addresses him by name in “Asleep in the Deep (Parody),” recorded at the same session.
ELSIE JANIS: Fascinating Baseball Slide
Camden, NJ: October 22, 1912
Victor 60090 (mx. B 12527 – 1) With studio orchestra (conductor not credited in the Victor files)
DAVE MONTGOMERY & FRED STONE: Travel, Travel, Little Star (“The Old Town”)
Camden, NJ: January 24, 1911
Victor 70033 (mx. C 9845 – 1) With studio orchestra (conductor not credited in the Victor files)
DAVE MONTGOMERY & FRED STONE: Gay Paree
Camden, NJ: May 19, 1911
Victor 70042 (mx. C 9906 – 2) With studio orchestra (conductor not credited in the Victor files)
NAT W. WILLS: New York, What’s the Matter with You? (Ziegfeld’s “Follies of 1913”)
Camden, NJ: September 22, 1913
Victor 17461 (mx. B 13838 – 1) Frank N. Darling, conductor, per Victor files (Darling was the conductor of the “Follies” orchestra).
If you’ve been following the Mainspring Press blog lately, you know that we are no longer publishing any new printed discographies, but instead licensing our discographical data to the University of California–Santa Barbara’s online Discography of American Historical Recordings. As much as I love books, I’ve long felt that digital databases offer a clear advantage for archiving and disseminating this sort of material (not to mention eliminating the ever-increasing costs of production, printing, shipping, and labor).
DAHR is staffed by, and associated with, some of the most knowledgeable people in the field. In recent years it has emerged as the largest and most authoritative source of discographical data relating to the 78-rpm era. A tremendous amount of Victor, Columbia, Brunswick-Vocalion, and Decca data from the original company files have already been digitized and made freely available as searchable databases, and much more is to come.
Now we can add American Zonophone to the list, with thanks to Sam Brylawski, David Seubert, and the DAHR staff for helping to make that possible. The first Zonophone installment (covering the 10″ and 12″ standard-catalog releases of 1904–1912) is now online and includes the latest revisions and updates to the printed volume that was published by Mainspring in 2012.
The next Zonophone installment, covering the 7″ and 9″ releases of 1900–1906, is undergoing final editing and fact-checking here, for submission to DAHR within the next month or two (there are no plans for a printed edition). Much of this material is previously unpublished and includes the first systematic cataloging of remakes, reissues, relabelings, altered stampers, etc.
For book enthusiasts, the Zonophone 10” / 12” volume can still be purchased on the Mainspring Press website, although supplies are running low — We’d advise ordering soon if interested, since Mainspring will not be reprinting any of its discographies once current the current inventory has sold out.
Believe the old tale that the first jazz record (Victor 18255, by the Original Dixieland Jass Band) sold a million copies? Or more?
Not even close — and we finally have the evidence from the Victor Talking Machine Company itself.
We recently got the welcome news from record researcher and Phonostalgia host Ryan Barna that microfilm copies of the “missing” blue production-history cards for Victor 18255 have been found in the Sony archives by Sam Brylawski — filed not under 18255, but under the catalog number of RCA’s 1967 LP reissue (LPV-547)! We then double-checked with Victor expert John Bolig, who was also able to locate his scans of the cards as well, and kindly forwarded them.
The most important news: The blue card states that 250,983 copies of Victor 18255 were pressed. Far short of the common million-seller claim, but more in line with what we’d expect for a best-seller of the period. Assuming this figure is correct, actual sales would have been a bit less (deducting free copies, breakage, dealer returns, leftover inventory destroyed when the record was deleted, etc.). In the interest of full disclosure, the blue-card figures could be off a bit, as John notes:
“Many years later somebody counted the pressings for a trial, and the company reported 250,983 copies had been pressed UP TO THAT TIME. I don’t know when that trial happened, but the record was deleted from the 1927 catalog. If the trial was earlier, more copies may have been pressed. If it was later, then the total is probably final and presumably accurate.”
It’s possible that this was the 1943 RCA–Decca trial, in which RCA submitted a tally of annual Victor record sales from 1901 through 1941. If so, 250,983 copies would likely have been the final tally; and presumably a reasonably accurate one, since the annual tally was formally entered into evidence at the trial.
Whatever the case, this is the only primary-source document located in the Victor archives so far that relates to the sales of 18255 — and as such, we trust it far more than the claims of some aging ODJB band members, who didn’t produce any documentary evidence to back up their boast, or the countless pop-culture writers who have uncritically swallowed that tale.
* * * * *
We don’t have permission from Sony to reproduce the card scans here. But the other key bits of information relating to Victor 18255, as relayed by both Ryan and John from the blue card and recording ledger information, are confirmation that these recordings were indeed originally made as trials, and were not accepted and assigned master numbers until March 1; that testing was not completed and approved until March 10 (eliminating any possibility of the March 5 release claimed by Rudi Blesh and others); and that the record was assigned to the May 1917 supplement (which would have been issued in late April). John suspects that the “March 1917 Special” notation might have been added to the card at a later date:
“The blue card for ‘Dixieland Jass Band, One Step’ (‘That Teasin’ Rag’) has handwriting on it that may have been added when the record was issued on LX-3007 [in 1954], and somebody using that pen and much darker ink seems to have added “Mar 1917 Special” above the “Date listed” cell that reads May 1917. That notation about a special release does not appear on the card for the other side. The writer penned the letter S twice in the same distinctive style on the word “Special” and on the words “Side 1” [the latter on a line referring to the 1954 LP reissue, which also gives the track number]. I doubt that employee was at Victor for the 1917 release and later for the LP release.
“I have dealt with these cards most of my life, and I seriously doubt that a record sent to the lab on March 9th could have been listed in a March special announcement. The absence of the notation on the other card supports my belief that a March announcement was almost impossible given the time required to design and print labels, press records and prepare them for distribution.”
Ryan has done some excellent sleuthing for ads and other materials confirming that Victor 18255 was on sale in some locations by late April (although apparently not before that) — in other words, a few weeks earlier than the “official” May 17 release date, but far later than Blesh’s logistically impossible March 5 date. He’ll be posting those ads and revealing the results of his investigation (which has turned up many interesting details regarding the initial release that we’ve not presented here) on the Phonostalgia site — be sure to pay him a visit.
Alexander Maloof was a second-generation Syrian immigrant who carved a niche for himself in the 1920s with the Maloof and Music of the Orient labels. Although known primarily for championing Middle Eastern music, Maloof was also a capable pop composer. He was a survivor as well — when times got tough in the early 1930s, he kept himself afloat by recording pipe-organ solos for skating rinks and funeral homes.
Maloof’s exact birth date remains questionable. His Social Security death record states that he was born on August 10, 1886. However, his tombstone states 1887; the 1920 and 1930 U.S. Census files state 1885, while the 1940 Census goes far afield with “about 1895″; and a copyright filing with the U.S. Patent & Trademark office lists 1884. Although various publications in the 1920s stated that Maloof was Turkish or Egyptian, his passport application and Social Security records state that he was born in Syria. The family, headed by Chames Maloof, apparently arrived in the U.S. in or around 1894, based on a 1925 report. On October 29 of that year, Maloof filed a declaration of intent to apply for naturalized citizenship.
By the early 1910s, Maloof was becoming well-known on the New York musical scene. In 1913 he recorded two of his original piano compositions — “Al-Ja-Za-Yer” (made as a test on July 24, and subsequently accepted for release) and “A Trip to Syria” (on September 16) — for the Victor Talking Machine Company. In a unusual move, the titles were assigned to both the ethnic and standard catalogs, as Victor 65830 and Victor 17443, respectively. Apparently, neither release sold well enough to earn Maloof a second Victor session.
The E. T. Paull Music Company published two of Maloof’s dance numbers, “Ticklish Sensation” and “The Egyptian Glide,” in 1914. The latter was available in two arrangements — Maloof’s own tango version, and a one-step-step/two-step/trot arrangement credited to Paull himself. By the late ’teens, Maloof was operating his own music studio in New York and was attracting notice for concert appearances at which he featured his original compositions.
The tango version of Maloof’s “Egyptian Glide” (1914). E. T. Paull also provided a “One-Step,Two-Step, Trot” arrangement.
The Maloof Phonograph Company was launched in 1920 to specialize in traditional Middle Eastern fare. Its earliest labels show either no copyright date, or a 1920 copyright, which does not appear to have been formally registered. The earliest pressings are from masters in a three-digit M-prefixed series of unknown origin, some of which show master-broker Earle W. Jones’ characteristic handwritten “J” in the wax. Physical characteristics suggest that they were pressed by the Siemon Hard Rubber Company, with which Jones was affiliated.
By late 1922 production of the Maloof label had shifted to the Starr Piano Company (Gennett), corresponding to a new (and also apparently unregistered) 1922 label copyright date. Maloof would become one of Gennett’s most active clients, rivaling that other highly prolific customer — Homer Rodeheaver — for the amount of time booked in Gennett’s studios.
A second Maloof line, Music of the Orient (credited to the likely fictitious “Orient Company”) appeared in or around 1923, also produced by Gennett, and using some of the same masters as the Maloof label. Although Maloof’s masters were numbered in the standard Gennett series, most were recorded for his exclusive use.
The Maloof and Music of the Orient labels seem to have disappeared by late 1925, but Maloof and his associates continued to record in Gennett’s New York studios into the summer of 1931, covering everything from Egyptian and Syrian folk music to old warhorses like “Home Sweet Home” and assorted Christian hymns. Gennett picked up the occasional title for its own use, but most were pressed as Personal records, at Maloof’s own expense. In-between, there was a visit to Victor’s New York studio on February 15, 1926, with his Oriental Orchestra. The session yielded four ethnic-catalog releases, one of which (“Egyptiana”) was also issued in the Mexican series, where it was retitled “Somali.”
Maloof held the dubious honor of having recorded the last masters ever made in Gennett’s legendary Long Island City studio, in late June 1931. (June 30, shown on the ledger sheet, is the date on which masters were received in Richmond, not the recording date. The ledger sheet for the final Long Island session is headed “1932” in error; master numbers are contiguous with the May–June 1931 sessions listed on the previous sheets.) Maloof’s final Gennett sessions included organ solos intended for use in the company’s Chapel series, which was marketed to funeral parlors.
From the Gennett ledgers — Top: The final session in the Long Island City studio, in late June 1931. Bottom: One of several earlier 1931 Maloof sessions. Note that the recordings were dubbed to new N-series masters; several dubbings from these sessions were released commercially on Champion and Superior in the early 1930s, and even on Decca’s revived version of the Champion label in the mid-1930s.
Chames Maloff died in1930, and Alexander moved to Los Angeles in 1931. He was living there by September 2 of that year, when his application for citizenship was finally accepted. However, he seems to have returned East on occasion, launching his new Orient label (credited to the Maloof Music Company of Englewood, New Jersey, and using newly recorded material) at some point in the 1940s. He died in Los Angeles on May 1, 1968.
The Maloof family plot in Angelus Rosedale Cemetery, Los Angeles. George Maloof made a few recordings for his brother’s label in 1920. (Courtesy of Irv Lightner)
Chicago: October 26, 1929 — Released: May 16, 1930
Victor V-38126 (mx. BVE 57335 – 2)
TINY PARHAM & HIS MUSICIANS: Pig Feet and Slaw
Chicago: October 26, 1929 — Delayed Release: September 27, 1933
Victor 23410 (mx. BVE 57333 – 2)
TINY PARHAM & HIS MUSICIANS: Steel String Blues
Chicago: October 26, 1929 — Delayed Release: September 27, 1933
Victor 23410 (mx. BVE 57337 – 3)
TINY PARHAM & HIS MUSICIANS: Subway Sobs
Chicago: February 2, 1929 — Released: April 19, 1929
Victor V-38041 (mx. BVE 48849 – 1)
The original Victor files do not name band personnel for these selections (nor for most other jazz recordings of this period); the personnel listings in Jazz Records and other discographies are from uncited sources and should be considered speculative.
A 1901 sampler, from Eldridge R. Johnson’s studios. Several of these recordings pre-date Johnson’s creation of the Victor Talking Machine Company, on October 3, 1901. At the time, Johnson and Harry O. Sooy (his chief recording engineer) were producing remarkably well-balanced, forward-sounding masters that were markedly superior (even with the surface noise) to the later thin, tinny “Victor sound.”
METROPOLITAN ORCHESTRA: Plantation Pastimes
Camden, NJ (Johnson Factory Building): March 2, 1901
Victor Monarch Record 3163 (-1)
DAN W. QUINN: Ain’t That a Shame
Philadelphia (424 S. 10th Street): November 21, 1901
Victor Monarch Record 3525 (-2) The spoken intro is damaged and has been deleted from this transfer.
DAN W. QUINN: I Ain’t A-Going to Weep No More
Camden, NJ (Johnson Factory Building): February 27, 1901
Victor Monarch Record 3149 (-1)
JOSEPH NATUS: The Fatal Rose of Red
Camden, NJ (Johnson Factory Building): February 16, 1901 (?)
Monarch Record 683 (renumbering of Victor Monarch 3114) Natus remade this selection on November 26, 1901. Moran & Fagan’s transcription of the Victor files shows the original version as being used on all renumbered pressings, but this might be in error; the original master was returned as no longer usable on October 3, 1902, pre-dating the 1903–style (sunken-label) stamper used for this transfer.
VESS L. OSSMAN: Salome — Intermezzo
Camden, NJ (Johnson Factory Building): January 21, 1901
Victor Monarch Record 3049 (-1)
Studio locations are per Harry Sooy, Victor’s chief recording engineer at the time. The piano accompanists are uncredited in the Victor files and on the labels. Victor’s usual pianists during this period were C. H. H. Booth and Frank P. Banta (the latter the father of 1920s novelty pianist Frank E. Banta). The occasional speed fluctuations are defects in the original recordings.
Victor’s management remained aloof in the face of the blues craze until mid-1923, when they reluctantly decided to try a few blues-inflected titles by black singers. They made only a minimal effort, turning to publisher/talent-broker Joe Davis, who ran a booming business dispatching pre-packaged singers and accompanists, armed with his latest hits, to record-company executives who lacked the skills or desire to develop a race-record catalog on their own. Davis’ singers (some of whom had come to him from the defunct Black Swan operation) were a competent if undistinguished lot, able to make quick work of whatever was handed them for very little money.
In the group of recordings presented here, Rosa Henderson, Lena Wilson, Lizzie Miles, and their accompanists all came from Davis’ stable. They were local cabaret and vaudeville performers, and their work paled in comparison with the greats like Bessie Smith, Ida Cox, and Ma Rainey, who were beginning to appear on competing labels whose managers made the effort to scout truly great talent. But it was a start, at least, for what was then one of the most hidebound, complacent companies in the industry.
Victor’s first “blues” ad (Chicago Defender, August 4, 1923)
That summer, Victor took what was (for it) the unprecedented step of placing a large display ad in The Chicago Defender, the nation’s leading black newspaper, announcing their new “blues” records. Besides the first titles by Davis’ singers, there was a comedy skit by Moss & Frye; a couple of pop-ish duets by Sissle & Blake; and two generic-sounding fox trots by Arthur Gibbs & his Gang. Victor also dredged up their 1921 medley sides by the “Shuffle Along” pit orchestra for the list.
LIZZIE MILES (CLARENCE JOHNSON, piano): You’re Always Messin’ ‘Round with My Man
New York: May 23, 1923 — First advertised August 4, 1923
Victor 19083 (mx. B 28025 – 3)
LENA WILSON (PORTER GRAINGER, piano): ‘T’ain’t Nobody’s Bizness If I Do
New York: May 9, 1923 — First advertised August 4, 1923
Victor 19085 (mx. B 27894 – 3)
NOBLE SISSLE (EUBIE BLAKE, piano): Down-Hearted Blues
Camden, NJ: May 25, 1923 — First advertised August 4, 1923
Victor 19086 (mx. B 27976 – 3)
LIZZIE MILES (Clarence Johnson, piano): Cotton Belt Blues
New York: July 19, 1923 — Released October 1923
Victor 19124 (mx. B 28298 – 4)
ROSA HENDERSON (with uncredited band): Midnight Blues
New York: July 19, 1923 — Released October 1923
Victor 19124 (mx. B 28299 – 4) The accompaniment is credited to Fletcher Henderson’s Orchestra in most discographies, with no source cited, although the aural evidence does suggest that at least some of Henderson’s men were present. The Victor files show only “Colored Orchestra – Edward T. King, director” (King was the Manager and Chief Petty Tyrant of Victor’s New York studio at the time).
JAMES P. JOHNSON: Bleeding-Hearted Blues
Camden, NJ: July 25, 1923 — Released October 1923
Victor 19123 (mx. B 28197 – 6)
Introduced in 1906, the Junior was Victor’s cheapest talking machine at the time, originally retailing for $10. The ad below announced its impending arrival on July 1 of that year.
Six months later the Junior was featured on the cover of the Victor Records supplement. Although the illustration is unsigned, a note in the catalog confirms it is by Grace Wiederseim, creator of the Campbell’s Soup Kids (Campbell’s Soup being Victor’s Camden neighbor; its factory whistle spoiled a few masters in the early days).
Although the Junior reputedly was used in some premium schemes, we’ve not yet tracked down any specifics in that regard. The machine remained available until 1920, by which time it was retailing for $12. The Junior is uncommon today.
In February 1906 Victor began featuring original artwork on its monthly supplement covers, in place of the uniform boilerplate design that it had used since early 1904. Unfortunately, with the exception of the May 1907 issue, the illustrations are unsigned. The last original cover artwork appeared on the November 1907 issue, after which Victor reverted to using a plain stock design, which varied only in its color scheme from month to month.
ARMAND J. PIRON’S NEW ORLEANS ORCHESTRA (Armand J. Piron and Charles Bocage, vocal):
Kiss Me Sweet
New York: December 1923
Okeh 40021 (mx. S 72133 – D)
ARMAND J. PIRON’S NEW ORLEANS ORCHESTRA:
Mama’s Gone, Goodbye
New York: December 11, 1923
Victor 19233 (mx. B 29122 – 2)
ARMAND J. PIRON’S NEW ORLEANS ORCHESTRA:
Sud Bustin’ Blues
New York: December 21, 1923
Columbia 14007-D (mx. 81435 – 3)
ARMAND J. PIRON’S NEW ORLEANS ORCHESTRA:
Ghost of the Blues
New York: February 15, 1924
Columbia 99-D (mx. 81569-3)
ARMAND J. PIRON’S NEW ORLEANS ORCHESTRA:
Red Man Blues
New Orleans: March 25, 1925
Victor 19646 (mx. B 32121 – 3)
IDA G. BROWN & HER BOYS: Kiss Me Sweet
New York (Independent Recording Laboratories): February 1924
Banner 1343 (mx. 5430 – 2) The accompanists are believed to have been members of Piron’s Orchestra, based on aural and circumstantial evidence; the original Plaza-IRL documentation for this period no longer exists.
Edward M. Favor (1856 – 1936) isn’t easy on modern ears, but his recordings allow us to hear a popular nineteenth-century stage star in action. Favor’s career pre-dated the start of commercial sound recording. He was attracting notice in New York as early as 1883, when he landed a starring role in “Fun in a Balloon” at Tony Pastor’s. His biggest musical-comedy success came with wife Edith Sinclair in E. E. Rice’s long-running extravaganza, “1492 (Up to Date, or Very Near It),” which opened at Palmer’s in 1893. Two years later he made a successful transition to vaudeville, headlining on the B. F. Keith circuit in an act that a New York Times critic dismissed as “rather more of the rough-and-ready kind.” He also began to record prolifically in the late 1890s, churning out hundreds of titles for major and minor concerns alike. He returned to musical comedy in the early 1900s, with a corresponding drop-off in recording activity, and reportedly remained active in vaudeville into the early 1930s.
EDWARD M. FAVOR (self-announced): Bedelia
New York: c. October–November 1903 (released January 1904)
Columbia 1667 (take 1; no “M-“ number present)
EDWARD M. FAVOR: La Ti-dly I-dly Um
Philadelphia: March 16, 1906
Victor 4667 (mx. B 3185 – 2)
EDWARD M. FAVOR: Fol the Rol Lol
Philadelphia: March 16, 1906
Victor 4856 (mx. B 3182 – 2)
Note: The Encyclopedic Discography of Victor Recordings also shows this on Victor 4669, a number that does not appear in the Victor Monthly Supplements, and which we have not been able to confirm as actually issued (let us know if you have one). Victor 4856 is a delayed release (November 1906).
EDWARD M. FAVOR & CHORUS (announced by Edward Meeker): Fol the Rol Lol
New York: c. August 1906 (released November 1906)
Edison 9142 (2-minute cylinder)
Robert A. “Bob” Roberts came from theatrical stock (his father was Nicholas “Nick” Roberts, one of the crustier characters in nineteenth-century popular theater). He was a well-traveled headliner, and as the early 1900s progressed he spent an increasing amount of time touring, including long stays on the West Coast. As a result, his recorded output diminished markedly after 1909. Roberts’ family background, and his recording and performing careers (which began in vaudeville and ended three decades later on radio), are covered in “American Recording Pioneers: Bob Roberts” on the Mainspring Press website.
As was symptomatic of the period in which they were written, some of these songs contain racial stereotypes and demeaning language, which does not represent the views or attitude of Mainspring Press.
BOB ROBERTS: Good Bye, Eliza Jane
Philadelphia: May 23, 1904 — Released August 1904
Monarch Record 2832 (mx. B 1412 – )
Orchestra probably directed by Arthur Pryor *
Roberts also recorded this song with piano accompaniment on the same date (mxs. A and B 1341, in 7″ and 10″ form, respectively). The orchestra-accompanied versions apparently were made as unnumbered tests, but then were assigned mxs. A and B 1412 in early June, having been selected for issue instead of the piano-accompanied versions. The Encyclopedic Discography of Victor Recordings’ entries for these recordings are scrambled, erroneously showing the orchestra-accompanied version as having been issued only in 7″ form and 10″ Monarch 2832 as being piano-accompanied only (although it is obviously orchestral, as heard here, and as correctly listed in Victor’s August 1904 supplement).
* Arthur Pryor’s likely presence is based upon recording engineer Harry Sooy’s recollection that Victor hired Pryor as its house conductor in late 1903, when the company began regular experiments with orchestral accompaniments. There was not yet a resident Victor studio orchestra when this recording was made; free-lance musicians were hired on an as-needed basis, according to Sooy. Pryor eventually found the job “too confining,” and around September 1904 the position was given to Walter B. Rogers, who built Victor’s own in-house orchestra.
BOB ROBERTS: ’Tain’t No Disgrace to Run If You’re Skeered
No Scrooges at the Victor Talking Machine Company, as this 1911 article makes clear. By that time, the company’s Camden plant was a city-within-a-city, with its own railroad siding, hospital, fire department, printing plant, cafeteria, and (presumably) a very large walk-in cooler; the view below is from 1915.
From the Victor monthly supplements (1915 –1916), courtesy of John R. Bolig. Full discographical details of the artists’ recordings from this period, compiled from the original recording ledgers and production cards, can be found in John’s Victor Black Label Discography, Vol. 1 (16000 / 17000 Series), available from Mainspring Press and many major libraries.
A music appreciation lesson, 1920s style. In early 1928, Victor released a newly remade version of their first Musical Masterpiece album — Dvorak’s Symphony No. 5, “From the New World,” by the Philadelphia Orchestra under Leopold Stokowski. The original version (using October 1925 masters recorded in Camden, New Jersey) had released on April 30, 1926.
As a bonus, the remade version included this special single-sided disc by Leopold Stokowski himself, which was never sold individually. The new recordings, other than Stokowski’s talk, were made at the Academy of Music in Philadelphia. They retained the original matrix numbers (which were assigned higher take numbers), M-1 album number, and 6500-series catalog numbers; however, Red Seal catalog numbers had advanced into the 6700s by the time the new version was issued, as reflected by the number assigned to this side.
At one point, Stokowski contends that Dvorak was influenced by “Negro jazz,” confusing jazz with its predecessor, ragtime (seminal examples of had just begun making their way into print at the time Dvorak was composing this symphony in 1893) — not an uncommon error, even at that late date.
LEOPOLD STOKOWSKI (speech and piano): Symphony No. 5, “From the New World” (Dvorak, Op. 95) — Outline of Themes with Piano
Camden, NJ: October 6, 1927
Victor 6743 (mx. CVE 40401 – 2)
Included in version 2 of Victor Musical Masterpiece Album M-1 (released January 27, 1928)
Note: Victor also recorded a Spanish translation of Stokowski’s talk by José Tablada, with piano by Rosario Bourdon, for the Latin American market (issued on single-sided Victor 6750).
Discographical data from the original Victor files (courtesy of John R. Bolig) and Victor’s May 1926 Talking Machine World listing.