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 Posted:   May 30, 2017 - 10:54 PM   
 By:   TerraEpon   (Member)

Consulting spreadsheets on my classical music collection, I gathered the works below based upon a runtime duration between 34 and 36 minutes:


While I'm sure many are doubles, and many have recordings that fall out of the range, I have no less than 160 entries in my database that fall between 34:00 and 36:00 (though as for being able to fit on two sides of 17 minutes, that's a different story.

On top of which, of the works you said fit, for the recordings I own, both recordings of Belshazzar's Feast are too long, and both of Watlon's Violin Concerto are too short (one is just barely 30). Villa-Lobos's Choros No. 12 is too long as well.

Just sayin'.

Though incidentally my recording of Rite of Spring falls under time too, at 33:20, though both recordings of Petrushka do fit, so I suppose Onya was only two years off...

 
 
 Posted:   May 31, 2017 - 5:19 AM   
 By:   OnyaBirri   (Member)

Though incidentally my recording of Rite of Spring falls under time too, at 33:20, though both recordings of Petrushka do fit, so I suppose Onya was only two years off...

Petrushka is not the definitive 20th century composition that Printemps is. My point is that Printemps is not only the singular definitive piece of 20th century music, but that it was made to conveniently fit on the definitive 20th century playback medium. So the honor goes to Printemps.

 
 Posted:   May 31, 2017 - 7:03 AM   
 By:   Sean Nethery   (Member)

And recall that Onya also chose Sacre because it really is in two discrete parts, each of which fits neatly on one side of an LP, unlike (I think) any other suggestions here. That's what makes it so spooky, how did he know?

On the other hand, if he did know, why didn't he write all subsequent works the same way?

 
 
 Posted:   May 31, 2017 - 7:07 AM   
 By:   OnyaBirri   (Member)

And recall that Onya also chose Sacre because it really is in two discrete parts, each of which fits neatly on one side of an LP, unlike (I think) any other suggestions here. That's what makes it so spooky, how did he know?

On the other hand, if he did know, why didn't he write all subsequent works the same way?


He had to do it only once. He created the template for the 20th century music consumption, and then he moved on to his neoclassical period.

And I'm glad that at least one person understands where I'm coming from!

 
 Posted:   May 31, 2017 - 2:43 PM   
 By:   'Lenny Bruce' Marshall   (Member)

Your choices arouse painful memories. All three of the RVW pieces were just a bit too long for a single LP side. The usual practice was to start on side 1 and have the remainder at the beginning of side 2. It was a perfect recipe for breaking one's concentration at a critical moment! The Sixth Symphony was a particularly awful case, since the movements are supposed to be played attacca (without pause).

You're lucky you weren't around during the 78 era!
My father had a collection of classical works- long ones. I can not even remember how many discs it took to fit PORGY & BESS on!

Surel,y someone here can post what those suitcases filled with shellac looked like?
brm

 
 Posted:   May 31, 2017 - 4:50 PM   
 By:   Viscount Bark   (Member)




I don't have a shot of the complete 78 rpm package, but here are some images of that old P&B set.

 
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