1933 Direct RCA PROGRAM TRANSCRIPTION Charles O Connell RESTFUL ORGAN MUSIC 33

$

20

2 Brutzargen

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A series of great early Orchestra and Instrumental performances: From 1902 G&Ts to 40s wartime German records:

Great performance by Charles O CONNELL, who would later become Victor's Artistic Director,  on the Trinity Organ Camden

Rare  RCA PROGRAM TRANSCRIPTION 33 RPM

 THIS IS A DIRECT RECORDING, NOT A DUB

Company Matrix No. Take Number Date Title/Artist 
Victor LBS-75624 1 3/23/1933 Restful organ music—No. 2 / Charles O’Connell 
Victor LBS-75625 1 3/23/1933 Restful organ music—No. 2 / Charles O’Connell

Absent ; Sweet and low ; I need thee every hour

Meditation ; The rosary ; God be with you 

The pieces are played continuous without break

Of course this record would be ideal for furneral parlors and perhaps wedding chapels

In 1931, RCA Victor tried to introduce a long playing disc. They recorded music at 33-1/3 rpm on a standard 10 or 12 inch shellac disc — or more often an early plastic material called "Victrolac" which seemed to be softer and wore out more quickly than shellac. The grooves on the record were the same as those used on 78 RPM discs, not the microgrooves used by Columbia when they introduced their 33-1/3 disc on vinyl in 1948. This was a short lived experiment because at the height of the depression few people could afford the very expensive machines needed to play the Program Transcription discs. Also, the discs had poor fidelity and the heavy tone arms of that period wore the discs out quickly. The records were produced from 1931 to 1933, but some discs were kept in the RCA catalog until 1939.

10"  RCA PROGRAM TRANSCRIPTIONs SHELLAC 33 RPM Pressing

Condition: EXCELLENT MINUS, rare fine scratches, plays quiet w light crackle
A GREAT RECORD

Charles O'Connell

Charles O'Connell, who produced many of Toscanini's RCA Victor recordings in the 1930s and early 1940s, said that RCA Victor decided to record the NBC Symphony Orchestra in Carnegie Hall, whenever possible, after numerous customer complaints about the flat and dull-sounding early recordings made in Studio 8-H in 1938 and 1939. (Nevertheless, some recording sessions in Studio 8-H persisted as late as June 1950, probably because of alterations to the studio beginning in 1939, including installation of an acoustical shell in 1941 at Leopold Stokowski's insistence, before he would temporarily replace Toscanini as principal conductor in the fall.) O'Connell and others often complained the Maestro was little interested in the details of recorded sound and, as Harvey Sachs wrote, Toscanini was frequently disappointed that the microphones failed to pick up everything he heard as he led the orchestra. O'Connell even complained of Toscanini's failure to cooperate with him during the sessions. Toscanini himself was often disappointed that the 78-rpm discs failed to fully capture all of the instruments in the orchestra or altered their sound to such an extent they became unrecognizable. Those fortunate to attend Toscanini's concerts later said the NBC string section was especially outstanding.[40]

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