Stokowski/Philadelphia stereo

NPR carried a story today about the Librarian of Congress designating 50 essential recordings, some of which are not available to the public. Cited were the Stokowski/Philadelphia stereo recordings from the 1930's, which Bell Labs issued only on LP, only to learn afterwards that there were rights issues that prevented further release.

Anybody know what these might be?

Is there any movement toward resolving them, so that, say, the orchestra could issue them on their own label?

And here is a link to the 50 recordings selected for 'preservation':

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I wonder if this will lead to a 'legitimate' reissue of #4? There is also classical content in ## 7, 14, 19, 21, 26, 31, 32, and 47. Too much for the news media to ignore without it looking totally deliberate.

#10 I've wanted to hear since I was a kid.

'Matthew B. Tepper (if there are backslashes in this address, it is forged)'

What would you call big bucks? I paid US$20 at The Princenton Record Exchange a few years ago. I really wonder what they go for now.

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I wouldn't swear to it, but I think I once saw one go for over $100 US.

Back in the 1960's (or was it ca. 1970?) I attended a performance of _Die Meistersinger_ at the Academy of Music in Philadelphia. This was conducted by William Smith. I noticed some familiar faces in the orchestra pit before the performance began. And when the Prelude got underway, there was no mistaking *that* sound: It was a moonlighting Phila. Orch. in the pit! An acquaintance at the Univ. of Pa. told me that it was true, and moreover that the musicians' union was none too happy about it...

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A close friend of mine, now deceased, liked to say that there were two ensembles he could unfailingly recognize just from their sound: the Eastman Wind Ensemble and the Philadelphia Orchestra.

Wow. But these are not in stereo, I gather? Even so I'd like to hear that!

Thank-you for the information, especially...

Here's hoping, and wondering what this quasi-stereo sounds like.

It isn't quasi-anything, but real stereo, just as the Blumlein experiments in the UK were true stereo, and the BASF 1936 tape recordings. Quasi- might apply to the Koussevitzky recordings that combine 78s made of the same takes recorded on cutters driven by two diffeent microphones. Why haven't those been played with more? With computer editing it should be possible to inaudibly mark as many places as needed in the music so each track is speeded up or slowed down to reach simultanaity. (The problem is that each cutter had a slightly different speed and years ago all that could be done was to manually ride two variable-speed turntables in the hope that musical cues in both tracks would happen at the same time.)