Here is one of the early LPs issued by the American Recording Society, which started as a non-profit with a grant from the Ditson Fund to record works by American composers.
The first side of this album is devoted to what I believe is the initial recording of Virgil Thomson's The River. Thomson has appeared here previously with one of his lesser-known works, the ballet Filling Station. The River, one of the composer's best known works, is a suite derived from the music from Pare Lorentz's 1938 documentary on the Mississippi. Thomson was perfectly suited for the documentary approach and its subject, with his use of simple forms and popular songs, and his tendency to remain just a bit removed from his source material, commenting on it with gentle irony. (One of the key motifs in the first piece is The Bear Went Over the Mountain; I imagine Thomson found this droll.) The combination of his music, Lorentz's Whitmanesque narration and the images became one of the definitive statements of late Depression Americana. The music itself was a major influence on Aaron Copland, heard most directly in Copland's score for the documentary The City.
While Thomson's music for The River is well known, the Otto Luening works herein are not. These days Luening is remembered as a pioneer of electronic music, but these orchestral pieces have little to do with those works. The Prelude on a Hymn Tune makes use of source material from William Billings, an early American composer. It was common for composers in the first half of the 20th century to base a work on a theme by composer of an earlier day. Luening pointedly made use of a theme by an American composer. The other works on the record, Two Symphonic Interludes, are from 1935. (I believe the Prelude is from the same period.) All this music is accessible and accomplished, but not memorable in the way that Thomson's work is.
These performances were recorded in 1953. The "American Recording Society Orchestra" was a Viennese group, probably the Vienna Symphony, and they play the music convincingly. The Thomson is conducted by Walter Hendl, mostly known among record collectors as an accompanist, and the Luening works are led by Dean Dixon, the interesting American conductor who mostly worked in Europe. My friend Fred of the blog Random Classics has been on a one-man crusade to get more notice and recognition for Dixon, so this post goes out to him. Also in the download is a 1952 article on Dixon from The Critic, an NAACP publication.
As mentioned above, the American Recording Society was a non-profit. It was established in 1951, with the works to be chosen by an advisory board that included Luening. The ARS was a record club of sorts; after you signed up, each month you would be offered a new recording. The Society advertised heavily in magazines; the ad below (click to enlarge) is from the January 7, 1952 issue of Life. I think I have that Piston second symphony recording around here somewhere.
